tag:blogger.com,1999:blog-49421941924801087472024-03-13T00:28:26.336+01:00Stijn Van DorpeUnknownnoreply@blogger.comBlogger72125tag:blogger.com,1999:blog-4942194192480108747.post-84704281654470808812022-09-24T17:01:00.008+02:002024-02-03T22:46:32.477+01:00PLOT een openluchtopera op Tondelier<p><span style="font-size: medium;"> </span></p><p><span style="font-family: arial; font-size: medium;">(an initiative of piloot vzw)</span></p><p><span style="font-family: arial; font-size: medium;"><span><br /></span></span></p><p><span style="font-family: arial; font-size: medium;"><span>trailer: </span><a href="https://vimeo.com/user135439871/trailer-opera-plot" rel="noreferrer" shape="rect" style="color: #196ad4; outline: currentcolor;" target="_blank">https://vimeo.com/user135439871/trailer-opera-plot</a> (copy in browser!)</span></p><p><span style="font-size: medium;"><span style="font-family: arial;"><span>film: </span><a href="https://vimeo.com/user39877370/plot?share=copy" rel="nofollow" style="outline: currentcolor;" target="_blank"><span style="color: #2b00fe;">https://vimeo.com/user39877370/plot?share=copy</span></a> </span><span style="font-family: arial;">(copy in browser!)</span></span></p><p><br /></p><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgAY83u2iTZavRq7ZVlgGqJHNg6BBrgcmTIzNuzqtz9DKrDr8W9YEKYOWMZhqMQ87tFcmwRI0sAtSCz05RWUjOv5fU-r2QybjXi2qgYllFoTWZRPKPgVv4MTPqzKJ1AxygRkMQFiGvw-eGk7Z-CSfk4Xz5t6JFhsjpG3Ee_iy2uOUB5a_OoBOen_C6nV3TP/s2717/_MDL0127bg270922.jpg" style="margin-left: 1em; margin-right: 1em;"><img alt="PLOT Stijn Van Dorpe, phd, doctoraat, piloot" border="0" data-original-height="1811" data-original-width="2717" height="426" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgAY83u2iTZavRq7ZVlgGqJHNg6BBrgcmTIzNuzqtz9DKrDr8W9YEKYOWMZhqMQ87tFcmwRI0sAtSCz05RWUjOv5fU-r2QybjXi2qgYllFoTWZRPKPgVv4MTPqzKJ1AxygRkMQFiGvw-eGk7Z-CSfk4Xz5t6JFhsjpG3Ee_iy2uOUB5a_OoBOen_C6nV3TP/w640-h426/_MDL0127bg270922.jpg" title="plot" width="640" /></a></div><p style="text-align: center;"><span style="font-family: arial; font-size: x-small;">photo Michael De Lausnay</span></p><p><br /></p><p><br /></p><p><br /></p><span><a name='more'></a></span><p><br /></p><p><br /></p><div dir="ltr" style="caret-color: rgb(29, 34, 40); color: #1d2228; font-family: "Helvetica Neue", Helvetica, Arial, sans-serif; font-size: 16px; outline: currentcolor;"><br /></div><div dir="ltr" style="caret-color: rgb(29, 34, 40); color: #1d2228; font-family: "Helvetica Neue", Helvetica, Arial, sans-serif; font-size: 16px; outline: currentcolor;"><br /></div><div dir="ltr" style="caret-color: rgb(29, 34, 40); color: #1d2228; font-family: "Helvetica Neue", Helvetica, Arial, sans-serif; font-size: 16px; outline: currentcolor;"><div class="page" style="caret-color: rgb(0, 0, 0); color: black;" title="Page 3"><div class="layoutArea"><div class="column"><p><span style="font-family: NHaasGroteskTXPro; font-size: 10pt;">PLOT — een openluchtopera op Tondelier</span></p></div></div><div class="layoutArea"><div class="column"><p><span style="font-family: NHaasGroteskTXPro; font-size: 10pt;">Intro / Giriş: ‘...’<br />Scène / Sahne / Scene 1: ‘Hinder – Olala’<br />Scène / Sahne / Scene 2: ‘Nummerplatenlied’ Meesterverteller / Ana Anlatıcı / Master Narrator:</span></p><p><span style="font-family: NHaasGroteskTXPro; font-size: 10pt;">‘Plot‘ & ‘De Lieve’<br />Scène / Sahne / Scene 3: ‘De Lieve & Troubadours’ Refrein / Nakarat / Chorus: ‘Oh?’</span></p><p><span style="font-family: NHaasGroteskTXPro; font-size: 10pt;">Scène / Sahne / Scene 4: ‘Wat vind jij dat er eens mag gezegd worden?’</span></p><p><span style="font-family: NHaasGroteskTXPro; font-size: 10pt;">Scène / Sahne / Scene 5: ‘Have you ever measured your imagination?’</span></p><p><span style="font-family: NHaasGroteskTXPro; font-size: 10pt;">Meesterverteller / Ana Anlatıcı / Master Narrator: ‘De baksteen‘ Refrein / Nakarat / Chorus: ‘Oh?’</span></p><p><span style="font-family: NHaasGroteskTXPro; font-size: 10pt;">Scène / Sahne / Scene 6: ‘Lied van het onbetaalbaar wonen’ Meesterverteller / Ana Anlatıcı / Master Narrator: ‘De hand‘ Scène / Sahne / Scene 7: ‘1 van de’<br />Refrein / Nakarat / Chorus: ‘Oh?’</span></p><p><span style="font-family: NHaasGroteskTXPro; font-size: 10pt;">Outro / Sonuç: ‘Lokroep’</span></p></div></div><img alt="page3image619665936" height="2.000000" src="blob:https://www.blogger.com/c003543b-c3bf-4962-afff-3ff63eff55b2" width="357.748000" /> <img alt="page3image619666240" height="2.000000" src="blob:https://www.blogger.com/b13e9205-7b2b-4134-82ee-bf73b64ec116" width="357.748000" /> <img alt="page3image619666544" height="22.542000" src="blob:https://www.blogger.com/f920f2d5-d7db-4618-86f5-fb321bae2133" width="29.921660" /><img alt="page3image619666976" height="2.000000" src="blob:https://www.blogger.com/3ed06a29-0199-47ad-971a-11c44c198f9a" width="357.748000" /></div><div class="page" style="caret-color: rgb(0, 0, 0); color: black;" title="Page 5"><div class="layoutArea"><div class="column"><p><span style="font-family: NHaasGroteskTXPro; font-size: 10pt;">Credits</span></p></div></div><div class="layoutArea"><div class="column"><p><span style="font-family: NHaasGroteskTXPro; font-size: 7pt; font-weight: 700;">Een initiatief van PILOOT vzw</span></p><p><span style="font-family: NHaasGroteskTXPro; font-size: 7pt; font-weight: 700;">Georganiseerd door</span></p><p><span style="font-family: NHaasGroteskTXPro; font-size: 7pt;">Stijn Van Dorpe </span><span style="font-family: NHaasGroteskTXPro; font-size: 7pt;">| concept, regie, productie, scenografie</span></p><p><span style="font-family: NHaasGroteskTXPro; font-size: 7pt;">Kelly Schacht </span><span style="font-family: NHaasGroteskTXPro; font-size: 7pt;">| concept, regie, productie, scenografie</span></p><p><span style="font-family: NHaasGroteskTXPro; font-size: 7pt;">Filip Van Dingenen </span><span style="font-family: NHaasGroteskTXPro; font-size: 7pt;">| concept, productie<br /></span><span style="font-family: NHaasGroteskTXPro; font-size: 7pt;">Petra Stavast </span><span style="font-family: NHaasGroteskTXPro; font-size: 7pt;">| concept<br /></span><span style="font-family: NHaasGroteskTXPro; font-size: 7pt;">Danielle van Zuijlen </span><span style="font-family: NHaasGroteskTXPro; font-size: 7pt;">| initiatief, concept, productie,</span></p><p><span style="font-family: NHaasGroteskTXPro; font-size: 7pt;">coördinatie</span></p><p><span style="font-family: NHaasGroteskTXPro; font-size: 7pt; font-weight: 700;">Inhoudelijke en productionele ondersteuning door</span></p><p><span style="font-family: NHaasGroteskTXPro; font-size: 7pt;">pKp (para-instituut voor Kunst en precariteit) –</span></p><p><span style="font-family: NHaasGroteskTXPro; font-size: 7pt;">Stijn Van Dorpe, Elien Ronse, Does Vandousselaere, Zehra Eviz, Joan Somers Donnelly, Bas Schevers, Merel Stolker, Elena Vloeberghen, Milena Galizzi </span><span style="font-family: NHaasGroteskTXPro; font-size: 7pt;">& occasionele participanten</span></p><p><span style="font-family: NHaasGroteskTXPro; font-size: 7pt; font-weight: 700;">In samenwerking met</span></p><p><span style="font-family: NHaasGroteskTXPro; font-size: 7pt;">Joris Blanckaert </span><span style="font-family: NHaasGroteskTXPro; font-size: 7pt;">| compositie</span></p><p><span style="font-family: NHaasGroteskTXPro; font-size: 7pt; font-weight: 700;">Koor</span></p><p><span style="font-family: NHaasGroteskTXPro; font-size: 7pt;">Aike Roodenburg </span><span style="font-family: NHaasGroteskTXPro; font-size: 7pt;">| dirigent<br />Koor Papillon </span><span style="font-family: NHaasGroteskTXPro; font-size: 7pt;">– Charlotte Fouquet, Geert Baetens,</span></p><p><span style="font-family: NHaasGroteskTXPro; font-size: 7pt;">Marc Vergaert, Peter De Vleeschouwer, Ine Bouckhout, Jolien Wauters, Karoline Heyde, Konrad De Decker, Els Tyberghein, Sofie Van Moortel, Jurgen De Waegemaeker, Tania Eeckman, Veerle Bogaert, Margo de Smet, Koen Van Kerrebroeck, Thierry Boelens, Alex Van Rentergem, Lien Eyerman, Luc Eyerman, Christelle Kesteloot, Susan Van Semmertier, Lieselotte Hemelsoet, Karina Provost, Danny Verhelst, Joachim David </span><span style="font-family: NHaasGroteskTXPro; font-size: 7pt;">| performance</span></p><p><span style="font-family: NHaasGroteskTXPro; font-size: 7pt;">Gastzangers – </span><span style="font-family: NHaasGroteskTXPro; font-size: 7pt;">Karoline Gesquiere, Rita Goutsmet, Klara Beyst, Erkan Arslan, Beyza, Ilenia, Laura Dendauw, Chris Vienne, Valérie Arickx, Sara Hubo, Tab Goh, Filip Dhondt, Isabelle Standaert, Katja Demey, Ann Debuck, Renee Caudron, Christophe Van den Abbeele, Stefaan Gouwy, Lut, Isabelle De Meyer, Klara, Dirk Bogaerts </span><span style="font-family: NHaasGroteskTXPro; font-size: 7pt;">| performance</span></p></div><div class="column"><p><span style="font-family: NHaasGroteskTXPro; font-size: 7pt; font-weight: 700;">Intro / Giriş: ‘...’</span></p><p><span style="font-family: NHaasGroteskTXPro; font-size: 7pt;">Jawad, Ilyas, Nanchev, Idrees, Ismael en anderen </span><span style="font-family: NHaasGroteskTXPro; font-size: 7pt;">| performance</span></p><p><span style="font-family: NHaasGroteskTXPro; font-size: 7pt; font-weight: 700;">Scène / Sahne / Scene 1: ‘Hinder – Olala’</span></p><p><span style="font-family: NHaasGroteskTXPro; font-size: 7pt;">KBR </span><span style="font-family: NHaasGroteskTXPro; font-size: 7pt;">| tekst & compositie<br /></span><span style="font-family: NHaasGroteskTXPro; font-size: 7pt;">KBR & El Paso Crew </span><span style="font-family: NHaasGroteskTXPro; font-size: 7pt;">| performance</span></p><p><span style="font-family: NHaasGroteskTXPro; font-size: 7pt; font-weight: 700;">Scène / Sahne / Scene 2: ‘Nummerplatenlied’</span></p><p><span style="font-family: NHaasGroteskTXPro; font-size: 7pt;">Joris Blanckaert </span><span style="font-family: NHaasGroteskTXPro; font-size: 7pt;">| compositie<br /></span><span style="font-family: NHaasGroteskTXPro; font-size: 7pt;">Koor Papillon & gastzangers </span><span style="font-family: NHaasGroteskTXPro; font-size: 7pt;">| performance</span></p><p><span style="font-family: NHaasGroteskTXPro; font-size: 7pt; font-weight: 700;">Meesterverteller / Ana Anlatıcı / Master Narrator: ‘Plot‘, ‘De Lieve’, ‘De Baksteen’, ‘De Hand’<br /></span><span style="font-family: NHaasGroteskTXPro; font-size: 7pt;">Danielle van Zuijlen, Stijn Van Dorpe, Kelly Schacht,</span></p><p><span style="font-family: NHaasGroteskTXPro; font-size: 7pt;">Filip Van Dingenen </span><span style="font-family: NHaasGroteskTXPro; font-size: 7pt;">| tekst<br /></span><span style="font-family: NHaasGroteskTXPro; font-size: 7pt;">Hilde Rogge </span><span style="font-family: NHaasGroteskTXPro; font-size: 7pt;">| voice-over<br /></span><span style="font-family: NHaasGroteskTXPro; font-size: 7pt;">Jürgen De Blonde </span><span style="font-family: NHaasGroteskTXPro; font-size: 7pt;">| geluid, mix & master<br /></span><span style="font-family: NHaasGroteskTXPro; font-size: 7pt;">Cedric Wavreil </span><span style="font-family: NHaasGroteskTXPro; font-size: 7pt;">| animatie & montage<br /></span><span style="font-family: NHaasGroteskTXPro; font-size: 7pt;">Zehra Eviz </span><span style="font-family: NHaasGroteskTXPro; font-size: 7pt;">| vertaling Turks<br /></span><span style="font-family: NHaasGroteskTXPro; font-size: 7pt;">Kelly Schacht, Danielle van Zuijlen </span><span style="font-family: NHaasGroteskTXPro; font-size: 7pt;">| vertaling Engels</span></p><p><span style="font-family: NHaasGroteskTXPro; font-size: 7pt; font-weight: 700;">Scène / Sahne / Scene 3: ‘De Lieve & Troubadours’</span></p><p><span style="font-family: NHaasGroteskTXPro; font-size: 7pt;">Lindah Nyirenda </span><span style="font-family: NHaasGroteskTXPro; font-size: 7pt;">| tekst<br />Troubadours – </span><span style="font-family: NHaasGroteskTXPro; font-size: 7pt;">Lindah Nyirenda, Filip Van Dingenen,</span></p><p><span style="font-family: NHaasGroteskTXPro; font-size: 7pt;">Hélène Meyer </span><span style="font-family: NHaasGroteskTXPro; font-size: 7pt;">| performance</span></p><p><span style="font-family: NHaasGroteskTXPro; font-size: 7pt; font-weight: 700;">Refrein / Nakarat / Chorus: ‘Oh?’</span></p><p><span style="font-family: NHaasGroteskTXPro; font-size: 7pt;">Stijn Van Dorpe </span><span style="font-family: NHaasGroteskTXPro; font-size: 7pt;">| tekst<br /></span><span style="font-family: NHaasGroteskTXPro; font-size: 7pt;">Joris Blanckaert </span><span style="font-family: NHaasGroteskTXPro; font-size: 7pt;">| compositie </span><span style="font-family: NHaasGroteskTXPro; font-size: 7pt;">Ecem Topcu </span><span style="font-family: NHaasGroteskTXPro; font-size: 7pt;">| performance</span></p><p><span style="font-family: NHaasGroteskTXPro; font-size: 7pt; font-weight: 700;">Scène / Sahne / Scene 4: ‘Wat vind jij dat er eens mag gezegd worden?’<br /></span><span style="font-family: NHaasGroteskTXPro; font-size: 7pt;">Tony De Ghouy, Anita Laperre, Kathleen</span></p><p><span style="font-family: NHaasGroteskTXPro; font-size: 7pt;">Heuvelmann, Bettina K., Patrick Everaert, Franky Mortier, Junior, Christophe, Kris, Abderrahmane, Merel Stolker, Elien Ronse </span><span style="font-family: NHaasGroteskTXPro; font-size: 7pt;">| tekst & performance</span></p><p><span style="font-family: NHaasGroteskTXPro; font-size: 7pt;">Rabotkerk – </span><span style="font-family: NHaasGroteskTXPro; font-size: 7pt;">Eefje van der Linden, Veronica Brunswijk, Marc Loos, Saskia van den Heuvel, Joost Rombaut, Peter van Damme, Negin Eidipoor, Maatje den Herder, Pari Zare </span><span style="font-family: NHaasGroteskTXPro; font-size: 7pt;">|</span></p><p><span style="font-family: NHaasGroteskTXPro; font-size: 7pt;">tekst & performance<br />Nieuwe Molens – </span><span style="font-family: NHaasGroteskTXPro; font-size: 7pt;">Klara Beyst, An Henau, An Gydé,</span></p><p><span style="font-family: NHaasGroteskTXPro; font-size: 7pt;">Christiaan Malfait, Rita Goutsmet, Chris Vienne, Walter, Mia, Raf </span><span style="font-family: NHaasGroteskTXPro; font-size: 7pt;">| tekst & performance</span></p></div></div></div><div class="page" style="caret-color: rgb(0, 0, 0); color: black;" title="Page 6"><div class="layoutArea"><div class="column"><p><span style="font-family: NHaasGroteskTXPro; font-size: 7pt;">Manoeuvre – </span><span style="font-family: NHaasGroteskTXPro; font-size: 7pt;">Brechkna Rehman, Döne Ozcelik, Dudu Kurnaz, Gonul Altintas, Gyulseren Mustafova, Hamide Celikoz, Hediye Sahin Yigit, Ilknur Sezer, Ismahan Yildirim, Rahime Koparan, Sultan Altintas, Sultan Kucukkaya, Zeynep Karasu, Döndü Yilmaz, Fadime Soyut, Emma Liimatainen, Laura Caroen, Dora Boeraeve, Joan Somers Donnelly, Chris Rotsaert, Kapinga Muela Kabeya </span><span style="font-family: NHaasGroteskTXPro; font-size: 7pt;">| tekst & performance</span></p><p><span style="font-family: NHaasGroteskTXPro; font-size: 7pt;">Rabotpark – </span><span style="font-family: NHaasGroteskTXPro; font-size: 7pt;">Mohammed, Rufus, Shahro Khan Nelson Ediagbonya, Gerti, Mohammad </span><span style="font-family: NHaasGroteskTXPro; font-size: 7pt;">| tekst</span></p><p><span style="font-family: NHaasGroteskTXPro; font-size: 7pt;">Joris Blanckaert </span><span style="font-family: NHaasGroteskTXPro; font-size: 7pt;">| compositie<br /></span><span style="font-family: NHaasGroteskTXPro; font-size: 7pt;">Koor Papillon & gastzangers </span><span style="font-family: NHaasGroteskTXPro; font-size: 7pt;">| performance</span></p><p><span style="font-family: NHaasGroteskTXPro; font-size: 7pt; font-weight: 700;">Scène / Sahne / Scene 5: ‘Have you ever measured your imagination?’<br /></span><span style="font-family: NHaasGroteskTXPro; font-size: 7pt;">Nelson Ferras, António Barbosa </span><span style="font-family: NHaasGroteskTXPro; font-size: 7pt;">| performance<br /></span><span style="font-family: NHaasGroteskTXPro; font-size: 7pt;">Lisa Couck </span><span style="font-family: NHaasGroteskTXPro; font-size: 7pt;">| drummer</span></p><p><span style="font-family: NHaasGroteskTXPro; font-size: 7pt;">Kelly Schacht </span><span style="font-family: NHaasGroteskTXPro; font-size: 7pt;">| ontwerp baksteen</span></p><p><span style="font-family: NHaasGroteskTXPro; font-size: 7pt; font-weight: 700;">Scène / Sahne / Scene 6: ‘Lied van het onbetaalbaar wonen’<br /></span><span style="font-family: NHaasGroteskTXPro; font-size: 7pt;">Dirk Elst, Ann Desmet, Raf Verbeke, Hildegarde</span></p><p><span style="font-family: NHaasGroteskTXPro; font-size: 7pt;">Desimpelaere, Liesbet Schroe, Stefaan Gouwy, Kelly Schacht, Stijn Van Dorpe, Rainer Maria Rilke </span><span style="font-family: NHaasGroteskTXPro; font-size: 7pt;">| tekst, compositie & performance</span></p><p><span style="font-family: NHaasGroteskTXPro; font-size: 7pt; font-weight: 700;">Scène / Sahne / Scene 7: ‘1 van de’</span></p><p><span style="font-family: NHaasGroteskTXPro; font-size: 7pt;">T-Loc </span><span style="font-family: NHaasGroteskTXPro; font-size: 7pt;">| tekst & mix<br /></span><span style="font-family: NHaasGroteskTXPro; font-size: 7pt;">Sander van Droogenbroek </span><span style="font-family: NHaasGroteskTXPro; font-size: 7pt;">| beats<br /></span><span style="font-family: NHaasGroteskTXPro; font-size: 7pt;">Simon Vaernewijck </span><span style="font-family: NHaasGroteskTXPro; font-size: 7pt;">| backing vocals<br /></span><span style="font-family: NHaasGroteskTXPro; font-size: 7pt;">T-Loc, Koor Papillon & gastzangers </span><span style="font-family: NHaasGroteskTXPro; font-size: 7pt;">| performance</span></p><p><span style="font-family: NHaasGroteskTXPro; font-size: 7pt; font-weight: 700;">Outro / Sonuç: ‘Lokroep’</span></p><p><span style="font-family: NHaasGroteskTXPro; font-size: 7pt;">El Ele – </span><span style="font-family: NHaasGroteskTXPro; font-size: 7pt;">Agnes Van Camp, Katrien Desmet, Hava Demirkapı, Nesrin Kirer </span><span style="font-family: NHaasGroteskTXPro; font-size: 7pt;">| performance</span></p><p><span style="font-family: NHaasGroteskTXPro; font-size: 7pt;">Jozef II kerk – </span><span style="font-family: NHaasGroteskTXPro; font-size: 7pt;">Ludwig Billiet </span><span style="font-family: NHaasGroteskTXPro; font-size: 7pt;">| performance IJskar – </span><span style="font-family: NHaasGroteskTXPro; font-size: 7pt;">Benny Demuyter </span><span style="font-family: NHaasGroteskTXPro; font-size: 7pt;">| performance Bahá’í – </span><span style="font-family: NHaasGroteskTXPro; font-size: 7pt;">Sam Darweesh, Marco </span><span style="font-family: NHaasGroteskTXPro; font-size: 7pt;">| performance</span></p><p><span style="font-family: NHaasGroteskTXPro; font-size: 7pt; font-weight: 700;">Productionele ondersteuning door</span></p><p><span style="font-family: NHaasGroteskTXPro; font-size: 7pt;">SLV Nevele </span><span style="font-family: NHaasGroteskTXPro; font-size: 7pt;">| geluid, licht, A/V & techniek<br /></span><span style="font-family: NHaasGroteskTXPro; font-size: 7pt;">Björn Samyn </span><span style="font-family: NHaasGroteskTXPro; font-size: 7pt;">| geluidsassistent<br /></span><span style="font-family: NHaasGroteskTXPro; font-size: 7pt;">Waldo De Roo </span><span style="font-family: NHaasGroteskTXPro; font-size: 7pt;">| productie sokkel<br /></span><span style="font-family: NHaasGroteskTXPro; font-size: 7pt;">Pol Hoste, Ludwig Billiet, Clock-O-Matic </span><span style="font-family: NHaasGroteskTXPro; font-size: 7pt;">| assistentie</span></p><p><span style="font-family: NHaasGroteskTXPro; font-size: 7pt;">klokken kerk</span></p><p><span style="font-family: NHaasGroteskTXPro; font-size: 7pt;">Karel Vaneyghen, Nadine Aerents, Rosita Cordy, Patrick Everaert, Gertrude, Irmak Yürür, Rihem Nasfi, Marc Cuypers, Anja Gheyle, Geoffrey Staelens, Christophe Spruyt, Marie Lou Vanassche, Kim Bruynooghe </span><span style="font-family: NHaasGroteskTXPro; font-size: 7pt;">| vrijwilligers</span></p></div><div class="column"><p><span style="font-family: NHaasGroteskTXPro; font-size: 7pt;">T&D Group </span><span style="font-family: NHaasGroteskTXPro; font-size: 7pt;">| security<br /></span><span style="font-family: NHaasGroteskTXPro; font-size: 7pt;">Lore Snauwaert </span><span style="font-family: NHaasGroteskTXPro; font-size: 7pt;">| catering<br />T</span><span style="font-family: NHaasGroteskTXPro; font-size: 7pt;">omas Uyttendaele </span><span style="font-family: NHaasGroteskTXPro; font-size: 7pt;">| fotografie<br /></span><span style="font-family: NHaasGroteskTXPro; font-size: 7pt;">Shivadas De Schrijver, Alina Fejzo </span><span style="font-family: NHaasGroteskTXPro; font-size: 7pt;">| videografie </span><span style="font-family: NHaasGroteskTXPro; font-size: 7pt;">Zwerm </span><span style="font-family: NHaasGroteskTXPro; font-size: 7pt;">l grafisch ontwerp</span></p><p><span style="font-family: NHaasGroteskTXPro; font-size: 7pt; font-weight: 700;">Met dank aan</span></p><p><span style="font-family: NHaasGroteskTXPro; font-size: 7pt;">Buurthuis Rabot-Blaisantvest Buurtwerk Rabot-Blaisantvest vzw Ocup<br />Manoeuvre</span></p><p><span style="font-family: NHaasGroteskTXPro; font-size: 7pt;">Rabotkerk<br />El Ele<br />El Paso<br />Bewonersgroep van de Nieuwe Molens & Krono Te Duur</span></p><p><span style="font-family: NHaasGroteskTXPro; font-size: 7pt;">De Rode Antraciet – </span><span style="font-family: NHaasGroteskTXPro; font-size: 7pt;">Sara Delaere<br /></span><span style="font-family: NHaasGroteskTXPro; font-size: 7pt;">Gevangenis Gent<br /></span><span style="font-family: NHaasGroteskTXPro; font-size: 7pt;">Tina De Gendt<br /></span><span style="font-family: NHaasGroteskTXPro; font-size: 7pt;">Troubadours – </span><span style="font-family: NHaasGroteskTXPro; font-size: 7pt;">Leendert van Accoleyen, Yemo Park, Gregoire Motte, Julien Bruneau, Giulia Messina, Aymara Samira, Arthur Van de Velde </span><span style="font-family: NHaasGroteskTXPro; font-size: 7pt;">(boot) International Opera Academy Gent – </span><span style="font-family: NHaasGroteskTXPro; font-size: 7pt;">Jannah Van Nevel Krystian Lada </span><span style="font-family: NHaasGroteskTXPro; font-size: 7pt;">| extern advies</span></p><p><span style="font-family: NHaasGroteskTXPro; font-size: 7pt;">Rogier Christiaens </span><span style="font-family: NHaasGroteskTXPro; font-size: 7pt;">| locatie Rietstraat<br /></span><span style="font-family: NHaasGroteskTXPro; font-size: 7pt;">Stijn Van Dorpe </span><span style="font-family: NHaasGroteskTXPro; font-size: 7pt;">| locatie Vlotstraat<br />Botschaft – </span><span style="font-family: NHaasGroteskTXPro; font-size: 7pt;">Julien De Smet, Clementine Vaultier,</span></p><p><span style="font-family: NHaasGroteskTXPro; font-size: 7pt;">Vanessa Müller </span><span style="font-family: NHaasGroteskTXPro; font-size: 7pt;">met studenten en participanten, ondersteund door Kask Nomadic School & Heike Langsdorf</span></p><p><span style="font-family: NHaasGroteskTXPro; font-size: 7pt;">Katrien Laenen, Laureline Soubry </span><span style="font-family: NHaasGroteskTXPro; font-size: 7pt;">| Platform Kunst in Opdracht</span></p><p><span style="font-family: NHaasGroteskTXPro; font-size: 7pt;">Stad Gent – Dienst Ruimte, Dienst Beleidsparticipatie, Dienst Wegen, Bruggen en Waterlopen</span></p><p><span style="font-family: NHaasGroteskTXPro; font-size: 7pt;">Tondelier N.V. – </span><span style="font-family: NHaasGroteskTXPro; font-size: 7pt;">Christophe Landuyt, Tom Graveel </span><span style="font-family: NHaasGroteskTXPro; font-size: 7pt;">| logistiek, werfkeet</span></p><p><span style="font-family: NHaasGroteskTXPro; font-size: 7pt;">Bestuur PILOOT vzw – </span><span style="font-family: NHaasGroteskTXPro; font-size: 7pt;">Philippe Van Cauteren, David Lagrange, Sarah Késenne, Pierre Verschaffel, Ilse Joliet</span></p><p><span style="font-family: NHaasGroteskTXPro; font-size: 7pt; font-weight: 700;">Gefinancierd door</span></p><p><span style="font-family: NHaasGroteskTXPro; font-size: 7pt;">Vlaamse Overheid – Stimuleringsinstrument Kunst in Opdracht</span></p><p><span style="font-family: NHaasGroteskTXPro; font-size: 7pt;">PILOOT vzw – PILOOT vzw kwam tot<br />stand binnen een kunstopdracht van de Stad Gent en Tondelier N.V. (2015 – 2020), in de context van de Pilootprojecten Kunst in Opdracht</span></p><p><span style="font-family: NHaasGroteskTXPro; font-size: 7pt; font-weight: 700;">Gesponsord door</span></p><p><span style="font-family: NHaasGroteskTXPro; font-size: 7pt;">Caruur</span></p></div></div></div></div>Unknownnoreply@blogger.comtag:blogger.com,1999:blog-4942194192480108747.post-57083756967200904532021-02-01T13:11:00.016+01:002024-02-03T22:45:40.094+01:00Founding pKp (2021 - ongoing) <p><br /></p><p><span style="font-family: arial; font-size: medium;"><span style="background-color: #ff00fe;"><span>follow </span><b>p</b>K</span><i><span style="background-color: #ff00fe;">p</span> </i></span><span style="font-family: arial;"><span style="font-size: medium;">:<span style="color: #2b00fe;"> </span></span></span><span style="color: #2b00fe; font-family: arial; font-size: medium;"><a href="https://parainstituutvoorkunstenprecariteit.blogspot.com/" target="_blank">https://parainstituutvoorkunstenprecariteit.blogspot.com/</a></span></p><p><span style="font-family: arial;"><br /></span></p><p><span style="font-family: arial;"> </span></p><div class="separator" style="clear: both; text-align: center;"><span style="font-family: arial;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEj7K6rw4jTgS7KbUGfk9ni0rVQHRYynRlxUv0gC9sQjR1x_5ZoDRZvGYZEuy_ehQ0QTUiY9Mis37QwfUBz5uyI4c3HTCUqygBC0e1LP96dUGEHrtvbP8bJpIDLlL3zRCA-PGhp8YvcJkrt3_Itx9-VSPCBael7ebIy9FyFgExh8zGkkSReEXP1lcOQfMvu-/s6240/Zwalm-4.jpg" style="margin-left: 1em; margin-right: 1em;"><img alt="oprichting pkp stijn van Dorpe, pkp kunst & Zwalm ouderwerk Stijn Van Dorpe en Elien Ronse" border="0" data-original-height="4160" data-original-width="6240" height="426" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEj7K6rw4jTgS7KbUGfk9ni0rVQHRYynRlxUv0gC9sQjR1x_5ZoDRZvGYZEuy_ehQ0QTUiY9Mis37QwfUBz5uyI4c3HTCUqygBC0e1LP96dUGEHrtvbP8bJpIDLlL3zRCA-PGhp8YvcJkrt3_Itx9-VSPCBael7ebIy9FyFgExh8zGkkSReEXP1lcOQfMvu-/w640-h426/Zwalm-4.jpg" title="founding pkp" width="640" /></a></span></div><div class="separator" style="clear: both; text-align: center;"><span style="font-family: arial;"><br /></span></div><div class="separator" style="clear: both; text-align: center;"><span style="font-family: arial;"><span style="font-size: x-small;">foto Tomas Uyttendaele (c) <b>p</b>k<i>p</i>, Stijn Van Dorpe en Elien Ronse </span></span></div><span style="font-family: arial;"><br /></span><br /><p></p>Unknownnoreply@blogger.comtag:blogger.com,1999:blog-4942194192480108747.post-21906125314653189052020-09-23T20:11:00.005+02:002023-11-02T16:03:29.327+01:00Zwart vierkant, scène 1 de kade<p></p><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiCZ7n0x0GiWIMxrpv2Zuy1v4jI2RGaH36q3AMuYEAwVMOWjLvOkcul7KELJBnNll4t7_wBEyD3t1OMDSqnuCv166rVnMMEdmvTyvh5VbXQZxpkMvZVaSRx72dXWh18ZuDfclHXM80wfRly/s2048/Screen+Shot+2020-12-01+at+11.48.13.png" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="1151" data-original-width="2048" height="225" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiCZ7n0x0GiWIMxrpv2Zuy1v4jI2RGaH36q3AMuYEAwVMOWjLvOkcul7KELJBnNll4t7_wBEyD3t1OMDSqnuCv166rVnMMEdmvTyvh5VbXQZxpkMvZVaSRx72dXWh18ZuDfclHXM80wfRly/w400-h225/Screen+Shot+2020-12-01+at+11.48.13.png" width="400" /></a></div><p></p><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjsgGKrxEqu8gpJdu6C2GCpSX7kK_ZDP-xcoFE0Zwp1rV01fd4SBcd-agQxdHdOVD0KO4wOEFShaizlkqFe60IjrYWkoJzqPK0cE4THS7xlqLpMC1BA7TMPXIcQLFHRdPxGAzBjAJjh87bU/s2048/brugge+beelsd+3.jpg" style="margin-left: 1em; margin-right: 1em; text-align: center;"><img border="0" data-original-height="1148" data-original-width="2048" height="224" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjsgGKrxEqu8gpJdu6C2GCpSX7kK_ZDP-xcoFE0Zwp1rV01fd4SBcd-agQxdHdOVD0KO4wOEFShaizlkqFe60IjrYWkoJzqPK0cE4THS7xlqLpMC1BA7TMPXIcQLFHRdPxGAzBjAJjh87bU/w400-h224/brugge+beelsd+3.jpg" width="400" /></a></div><p></p><div class="separator" style="clear: both; text-align: center;"><br /></div><br /><p></p><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhXYeKKyPXOnQ2QwpRBwY35cVtUWrbo4yrD11-Z0ElB0VPuJJ-YEv6zO7DsrVKMzlkY9RYBzPSeKgcaA5ic5VpGy6-ILlL3oEOsPYC_ZDvUfUqy3DtVQPD0laFjl5jTqnAWEdBt8oA-IvQy/s2048/brugge+beelsd+3.jpg" style="margin-left: 1em; margin-right: 1em;"></a><br /><div class="separator" style="clear: both; text-align: center;"><br /></div><br /></div><div class="separator" style="clear: both; text-align: center;"><div style="text-align: justify;"><span style="background-color: white; font-family: Tiempos, Times, serif; font-size: 18px; text-align: left;"><br /></span></div><div style="text-align: justify;"><p style="background-color: white; font-family: Helvetica; font-size: 16px; font-stretch: normal; line-height: normal; margin: 0px;"><span style="-webkit-font-kerning: none; font-kerning: none;">Performance: Zwart vierkant, scène 1 de kade</span></p><p style="background-color: white; font-family: Helvetica; font-size: 16px; font-stretch: normal; line-height: normal; margin: 0px;"><span style="-webkit-font-kerning: none; font-kerning: none;">by Stijn Van Dorpe, with Avsin Azak and Bas Schevers Introduced by Bert Pype</span></p><p style="background-color: white; font-family: Helvetica; font-size: 16px; font-stretch: normal; line-height: normal; margin: 0px; min-height: 19px; text-align: center;"><span style="-webkit-font-kerning: none; font-kerning: none;"></span><br /></p><p style="background-color: white; font-family: Helvetica; font-size: 16px; font-stretch: normal; line-height: normal; margin: 0px;"><span style="-webkit-font-kerning: none; font-kerning: none;">The performance Zwart vierkant, scène 1 de kade (black square, scene 1 de kade) is based on a workshop for blind and partially sighted youngsters from the school Spermalie Bruges in which they painted a black square, among other things. The workshop was also set up as a film recording in which the youngsters were made very aware of the presence of the cameras. However, the presentation in Kunsthal Gent does not include a film montage. Together with Avsin Azak - a girl with a beautiful voice and vocal ambitions who took part in the workshop - and instrumentally accompanied by visual artist Bas Schevers, Stijn Van Dorpe presents a musical translation of a conversation that took place during the workshop. The workshop and the performance were initially made for the exhibition 'objet trouvé' (curated by Bert Pype, 7-3 to 29-3 2020, Bruges) but the public presentation that would take place during the finissage was cancelled due to corona.</span></p><p style="background-color: white; font-family: Helvetica; font-size: 16px; font-stretch: normal; line-height: normal; margin: 0px; min-height: 19px; text-align: center;"><span style="-webkit-font-kerning: none; font-kerning: none;"></span><br /></p><p style="background-color: white; font-family: Helvetica; font-size: 16px; font-stretch: normal; line-height: normal; margin: 0px;"><span style="-webkit-font-kerning: none; font-kerning: none;">The performance is a first stop in a work in which Stijn Van Dorpe brings the black square of Kasimir Malevich into environments that deal with explicit forms of vulnerability. His interest in the black square involves the discrepancy between Malevich's highly democratic aspirations with his work, namely the ambition to be meaningful to everyone, and the infinite vulnerability of the painting. A vulnerability that consists in the fact that the work has never been or will never be seen by the masses as special. By bringing this together, Stijn Van Dorpe wants to explore precarity as a place from which new political aesthetic forms can emerge, where established power relations are broken down and other relational relationships are at play.</span></p><p style="background-color: white; font-family: Helvetica; font-size: 16px; font-stretch: normal; line-height: normal; margin: 0px; min-height: 19px; text-align: center;"><span style="-webkit-font-kerning: none; font-kerning: none;"></span><br /></p><p style="background-color: white; font-family: Helvetica; font-size: 16px; font-stretch: normal; line-height: normal; margin: 0px;"><span style="-webkit-font-kerning: none; font-kerning: none;">With thanks to De Kade, Spermalie Brugge</span></p><p style="background-color: white; font-family: Helvetica; font-size: 16px; font-stretch: normal; line-height: normal; margin: 0px; min-height: 19px;"><span style="-webkit-font-kerning: none; font-kerning: none;"></span><br /></p><p style="background-color: white; font-family: Helvetica; font-size: 16px; font-stretch: normal; line-height: normal; margin: 0px; min-height: 19px;"><span style="-webkit-font-kerning: none; font-kerning: none;"></span><br /></p><p style="background-color: white; font-family: Helvetica; font-size: 16px; font-stretch: normal; line-height: normal; margin: 0px; min-height: 19px;"><span style="-webkit-font-kerning: none; font-kerning: none;"></span><br /></p><p style="background-color: white; color: #0000ee; font-family: Helvetica; font-size: 16px; font-stretch: normal; line-height: normal; margin: 0px;"><span style="-webkit-font-kerning: none; font-kerning: none; text-decoration: underline;"><a href="https://kunsthal.gent/en/events/de-transformatie-van-de-kunstruimte-als-politiek">https://kunsthal.gent/en/events/de-transformatie-van-de-kunstruimte-als-politiek</a></span></p><div><span style="-webkit-font-kerning: none; font-kerning: none; text-decoration: underline;"><br /></span></div></div></div>Unknownnoreply@blogger.comtag:blogger.com,1999:blog-4942194192480108747.post-16367488520959000932020-09-19T22:26:00.011+02:002021-04-21T15:27:32.279+02:00Tondelier Slam<p> </p><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEh3gh9E1L5tEYG-uWWm0sFKtkiUEVqXjyGHwGYcuxKl7Uzia6oPdTFa7Au7Nsh6ZN4r7hlQD94KppjIE2frU2tp1yydBDlOvYk2LLC6Q2ZjDGfRc9quGAgTpNwqS0us_PXjceHFbmFUGiC8/s2048/Tondelierslam-83.jpg" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="1365" data-original-width="2048" height="426" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEh3gh9E1L5tEYG-uWWm0sFKtkiUEVqXjyGHwGYcuxKl7Uzia6oPdTFa7Au7Nsh6ZN4r7hlQD94KppjIE2frU2tp1yydBDlOvYk2LLC6Q2ZjDGfRc9quGAgTpNwqS0us_PXjceHFbmFUGiC8/w640-h426/Tondelierslam-83.jpg" width="640" /></a></div><br /><p></p><p style="text-align: center;"><span style="color: #666666;">piloot.co (with Kelly Schacht)</span></p><p style="text-align: center;"><span style="color: #666666;"><br /></span></p><p style="text-align: left;"><span style="color: #cc0000;">-----> </span><span style="caret-color: rgb(94, 94, 94); color: #5e5e5e; font-family: Helvetica; font-size: 16px;">(note on Tondelier slam, 16-09-2020)</span></p><p style="text-align: left;"><span style="caret-color: rgb(94, 94, 94); color: #5e5e5e; font-family: Helvetica; font-size: 16px;"><br /></span></p><span><a name='more'></a></span><p style="text-align: center;"><br /></p><p style="text-align: center;"><br /></p><p style="color: #5e5e5e; font-family: Helvetica; font-size: 16px; font-stretch: normal; line-height: normal; margin: 0px;"><span style="-webkit-font-kerning: none; font-kerning: none;">Last Saturday, </span><span style="-webkit-font-kerning: none; font-kerning: none; text-decoration: underline;"><i>A hardly work</i></span><span style="-webkit-font-kerning: none; font-kerning: none;"> (Tondelier slam)</span></p><p style="color: #5e5e5e; font-family: Helvetica; font-size: 16px; font-stretch: normal; line-height: normal; margin: 0px; min-height: 19px;"><span style="-webkit-font-kerning: none; font-kerning: none;"></span><br /></p><p style="color: #5e5e5e; font-family: Helvetica; font-size: 16px; font-stretch: normal; line-height: normal; margin: 0px; min-height: 19px;"><span style="-webkit-font-kerning: none; font-kerning: none;"></span><br /></p><p style="color: #5e5e5e; font-family: Helvetica; font-size: 16px; font-stretch: normal; line-height: normal; margin: 0px;"><span style="-webkit-font-kerning: none; font-kerning: none;">Context:</span></p><p style="color: #5e5e5e; font-family: Helvetica; font-size: 16px; font-stretch: normal; line-height: normal; margin: 0px; min-height: 19px;"><span style="-webkit-font-kerning: none; font-kerning: none;"></span><br /></p><p style="color: #5e5e5e; font-family: Helvetica; font-size: 16px; font-stretch: normal; line-height: normal; margin: 0px;"><span style="-webkit-font-kerning: none; font-kerning: none;">Tondelier slam was a happening in the frame of our Rabot /tondelier PILOOT project, a group of (around 5) artists under the name PILOOT commissioned to bring and research public art in a new neighbourhood that is rising in the Rabot wijk. The Rabot wijk is a former labourer neighborhood where today many newcomers lives. There’s a high amount of poverty. Tondelier will be a middle class venue with (what they call) budget houses from 250.000 euro on to really expensive lofts that goes over a million. </span></p><p style="color: #5e5e5e; font-family: Helvetica; font-size: 16px; font-stretch: normal; line-height: normal; margin: 0px; min-height: 19px;"><span style="-webkit-font-kerning: none; font-kerning: none;"></span><br /></p><p style="color: #5e5e5e; font-family: Helvetica; font-size: 16px; font-stretch: normal; line-height: normal; margin: 0px;"><span style="-webkit-font-kerning: none; font-kerning: none;">We have already a history of 6 years of actions and interventions in a sequence of different intensity and speed. </span></p><p style="color: #5e5e5e; font-family: Helvetica; font-size: 16px; font-stretch: normal; line-height: normal; margin: 0px; min-height: 19px;"><span style="-webkit-font-kerning: none; font-kerning: none;"></span><br /></p><p style="color: #5e5e5e; font-family: Helvetica; font-size: 16px; font-stretch: normal; line-height: normal; margin: 0px;"><span style="-webkit-font-kerning: none; font-kerning: none;">Often/untill now mostly actions were taken by us as individual artists but Tondelier slam I organised with Kelly Schacht (another artist involved) and it is part of a longer trajectory we run together in the rising neighbourhood. A trajectory that is strongly connected to the people who are living in or using public space in todays Rabot. For example we follow and work with a group of youngsters playing football guided by some older guys with a ‘difficult’ past (to be continued).</span></p><p style="color: #5e5e5e; font-family: Helvetica; font-size: 16px; font-stretch: normal; line-height: normal; margin: 0px; min-height: 19px;"><span style="-webkit-font-kerning: none; font-kerning: none;"></span><br /></p><p style="color: #5e5e5e; font-family: Helvetica; font-size: 16px; font-stretch: normal; line-height: normal; margin: 0px; min-height: 19px;"><span style="-webkit-font-kerning: none; font-kerning: none;"></span><br /></p><p style="color: #5e5e5e; font-family: Helvetica; font-size: 16px; font-stretch: normal; line-height: normal; margin: 0px;"><span style="-webkit-font-kerning: none; font-kerning: none;">Tondelier Slam:</span></p><p style="color: #5e5e5e; font-family: Helvetica; font-size: 16px; font-stretch: normal; line-height: normal; margin: 0px; min-height: 19px;"><span style="-webkit-font-kerning: none; font-kerning: none;"></span><br /></p><p style="color: #5e5e5e; font-family: Helvetica; font-size: 16px; font-stretch: normal; line-height: normal; margin: 0px;"><span style="-webkit-font-kerning: none; font-kerning: none;">We organised a slam poetry/spoken word/hip hop ‘battle’ on the construction site of Tondelier in between the piles of polluted tar and surrounded by fences. The stage was a big circle in a red vinyl (a point) that also did serve as a mind map and thus contained texts and signs made by the performers during a meeting we had the week before the happening. No audience was allowed on the site but the event was streamed live by radio rood, a local organisation that started up streaming events on facebook during the corona period. </span></p><p style="color: #5e5e5e; font-family: Helvetica; font-size: 16px; font-stretch: normal; line-height: normal; margin: 0px; min-height: 19px;"><span style="-webkit-font-kerning: none; font-kerning: none;"></span><br /></p><p style="color: #5e5e5e; font-family: Helvetica; font-size: 16px; font-stretch: normal; line-height: normal; margin: 0px; min-height: 19px;"><span style="-webkit-font-kerning: none; font-kerning: none;"></span><br /></p><p style="color: #5e5e5e; font-family: Helvetica; font-size: 16px; font-stretch: normal; line-height: normal; margin: 0px;"><span style="-webkit-font-kerning: none; font-kerning: none;">Local artist: </span></p><p style="color: #5e5e5e; font-family: Helvetica; font-size: 16px; font-stretch: normal; line-height: normal; margin: 0px; min-height: 19px;"><span style="-webkit-font-kerning: none; font-kerning: none;"></span><br /></p><p style="color: #5e5e5e; font-family: Helvetica; font-size: 16px; font-stretch: normal; line-height: normal; margin: 0px;"><span style="-webkit-font-kerning: none; font-kerning: none;">Local artists working with vocality in different ways where contacted and asked to bring a text/piece connected to the broad context of the place. Gentrification, whats the meaning of home, migration, the huge difficulties/obstacles for young people of color and/or with a poor background, drugs problematics, capitalism and the un-equality that comes out were themes that were common. Some wrote a text others used old texts whether or not mixed by new elements…</span></p><p style="color: #5e5e5e; font-family: Helvetica; font-size: 16px; font-stretch: normal; line-height: normal; margin: 0px; min-height: 19px;"><span style="-webkit-font-kerning: none; font-kerning: none;"></span><br /></p><p style="color: #5e5e5e; font-family: Helvetica; font-size: 16px; font-stretch: normal; line-height: normal; margin: 0px;"><span style="-webkit-font-kerning: none; font-kerning: none;">Networks:</span></p><p style="color: #5e5e5e; font-family: Helvetica; font-size: 16px; font-stretch: normal; line-height: normal; margin: 0px; min-height: 19px;"><span style="-webkit-font-kerning: none; font-kerning: none;"></span><br /></p><p style="color: #5e5e5e; font-family: Helvetica; font-size: 16px; font-stretch: normal; line-height: normal; margin: 0px;"><span style="-webkit-font-kerning: none; font-kerning: none;">We started our research in Ghent, looking after very different surroundings to find a big variety of performers from different backgrounds (working in different artistic or social frames). The basic idea was to reach and bring together these local artists but their contacts lead organically to Brussels, Antwerp and even Amsterdam. Also the performers art form (even in its difference) shapes a network that can be considered as a locality. </span></p><p style="color: #5e5e5e; font-family: Helvetica; font-size: 16px; font-stretch: normal; line-height: normal; margin: 0px; min-height: 19px;"><span style="-webkit-font-kerning: none; font-kerning: none;"></span><br /></p><p style="color: #5e5e5e; font-family: Helvetica; font-size: 16px; font-stretch: normal; line-height: normal; margin: 0px;"><span style="-webkit-font-kerning: none; font-kerning: none;">Voices:</span></p><p style="color: #5e5e5e; font-family: Helvetica; font-size: 16px; font-stretch: normal; line-height: normal; margin: 0px; min-height: 19px;"><span style="-webkit-font-kerning: none; font-kerning: none;"></span><br /></p><p style="color: #5e5e5e; font-family: Helvetica; font-size: 16px; font-stretch: normal; line-height: normal; margin: 0px;"><span style="-webkit-font-kerning: none; font-kerning: none;">Different voices were gathered on this empty terrain in transformation. The voices spoke in many different ways from positions that stays mostly unheard. In their performativity pain, angriness but also hope was staged. Performers addressed the current situation in Rabot critically and threw a perspective on a future neighbourhood surrounded by a rough landscape in transition. As important is the use and quality of the materiality of the voices, its colours, tones, volumes. These formal elements produced sensitivities and beauty related to humans and their bodies that nourished imagination and believe in humanity. </span></p><p style="color: #5e5e5e; font-family: Helvetica; font-size: 16px; font-stretch: normal; line-height: normal; margin: 0px; min-height: 19px;"><span style="-webkit-font-kerning: none; font-kerning: none;"></span><br /></p><p style="color: #5e5e5e; font-family: Helvetica; font-size: 16px; font-stretch: normal; line-height: normal; margin: 0px;"><span style="-webkit-font-kerning: none; font-kerning: none;">Community:</span></p><p style="color: #5e5e5e; font-family: Helvetica; font-size: 16px; font-stretch: normal; line-height: normal; margin: 0px; min-height: 19px;"><span style="-webkit-font-kerning: none; font-kerning: none;"></span><br /></p><p style="color: #5e5e5e; font-family: Helvetica; font-size: 16px; font-stretch: normal; line-height: normal; margin: 0px;"><span style="-webkit-font-kerning: none; font-kerning: none;">The act was conceived as one performance with many personal additions-one following the other. Performers, organisers and technical crew were standing around the circle. The group formed very much a community for the duration of the act. </span></p><p style="color: #5e5e5e; font-family: Helvetica; font-size: 16px; font-stretch: normal; line-height: normal; margin: 0px; min-height: 19px;"><span style="-webkit-font-kerning: none; font-kerning: none;"></span><br /></p><p style="color: #5e5e5e; font-family: Helvetica; font-size: 16px; font-stretch: normal; line-height: normal; margin: 0px; min-height: 19px;"><span style="-webkit-font-kerning: none; font-kerning: none;"></span><br /></p><p style="color: #5e5e5e; font-family: Helvetica; font-size: 16px; font-stretch: normal; line-height: normal; margin: 0px;"><span style="-webkit-font-kerning: none; font-kerning: none;">Scenography:</span></p><p style="color: #5e5e5e; font-family: Helvetica; font-size: 16px; font-stretch: normal; line-height: normal; margin: 0px; min-height: 19px;"><span style="-webkit-font-kerning: none; font-kerning: none;"></span><br /></p><p style="color: #5e5e5e; font-family: Helvetica; font-size: 16px; font-stretch: normal; line-height: normal; margin: 0px;"><span style="-webkit-font-kerning: none; font-kerning: none;">The happening started with an act of Filip Van Dingenen another artist of PILOOT on the ruff of a house that looks up the construction site. In a dust jacket he sprayed water forming the words: ‘freeing the Lieve’. The Lieve is an old medieval kanal (from Ghent to Brugge) that used to cross the Tondelier site and that perhaps is still running somewhere under the plot. A drone filmed the performance and moved then over the entire Tondelier construction site. A red dot with people around announced that something was going on. From there the cameras on the ground caught the first performer starting the act. The line up run from basically spoken poetry to rhythmic/dutch American hip hop.</span></p><p style="color: #5e5e5e; font-family: Helvetica; font-size: 16px; font-stretch: normal; line-height: normal; margin: 0px; min-height: 19px;"><span style="-webkit-font-kerning: none; font-kerning: none;"></span><br /></p><p style="color: #5e5e5e; font-family: Helvetica; font-size: 16px; font-stretch: normal; line-height: normal; margin: 0px;"><span style="-webkit-font-kerning: none; font-kerning: none;">Positions/artist/audience:</span></p><p style="color: #5e5e5e; font-family: Helvetica; font-size: 16px; font-stretch: normal; line-height: normal; margin: 0px; min-height: 19px;"><span style="-webkit-font-kerning: none; font-kerning: none;"></span><br /></p><p style="color: #5e5e5e; font-family: Helvetica; font-size: 16px; font-stretch: normal; line-height: normal; margin: 0px;"><span style="-webkit-font-kerning: none; font-kerning: none;">Filip who was on the ruff, popped up very much as an artist performer during the happening, my rol in this was very different, I was perceived as an organiser. </span></p><p style="color: #5e5e5e; font-family: Helvetica; font-size: 16px; font-stretch: normal; line-height: normal; margin: 0px; min-height: 19px;"><span style="-webkit-font-kerning: none; font-kerning: none;"></span><br /></p><p style="color: #5e5e5e; font-family: Helvetica; font-size: 16px; font-stretch: normal; line-height: normal; margin: 0px;"><span style="-webkit-font-kerning: none; font-kerning: none;">The labor I did for that project was basically bringing these performers together, organise the event, looking after people for the production, giving trust, making sandwiches. </span></p><p style="color: #5e5e5e; font-family: Helvetica; font-size: 16px; font-stretch: normal; line-height: normal; margin: 0px; min-height: 19px;"><span style="-webkit-font-kerning: none; font-kerning: none;"></span><br /></p><p style="color: #5e5e5e; font-family: Helvetica; font-size: 16px; font-stretch: normal; line-height: normal; margin: 0px;"><span style="-webkit-font-kerning: none; font-kerning: none;">I enjoyed the event and I was as much as everybody a spectator at the moment the performance took place. </span></p><p style="color: #5e5e5e; font-family: Helvetica; font-size: 16px; font-stretch: normal; line-height: normal; margin: 0px; min-height: 19px;"><span style="-webkit-font-kerning: none; font-kerning: none;"></span><br /></p><p style="color: #5e5e5e; font-family: Helvetica; font-size: 16px; font-stretch: normal; line-height: normal; margin: 0px;"><span style="-webkit-font-kerning: none; font-kerning: none;">The concept or conceptual elements or decisions that were made on forehand were very minimal. The work is a <i>hardly work.</i> Its very close to organising a festival notwithstanding the decisions made here have very different motivations than ‘usual’ concerts. In the specific assumptions lays the conceptual script which is very context related. Important is/was the organically following up of the work during the organisation. Working in the now and in specificity, mould experiences and set out the way that has to be followed. The process is in this sense a learning process and things design themselves.</span></p><p style="color: #5e5e5e; font-family: Helvetica; font-size: 16px; font-stretch: normal; line-height: normal; margin: 0px; min-height: 19px;"><span style="-webkit-font-kerning: none; font-kerning: none;"></span><br /></p><p style="color: #5e5e5e; font-family: Helvetica; font-size: 16px; font-stretch: normal; line-height: normal; margin: 0px;"><span style="-webkit-font-kerning: none; font-kerning: none;">As became clear the work is a collaboration with many people, but on the level of concept and decisions made its a cooperation between Kelly and me, which means that I still know very well which labor tasks I carried out, but I can’t track down anymore (and its irrelevant) who -content wise- is responsible for which aspect of the work (this is a victory over myself). </span></p><div><span style="-webkit-font-kerning: none; font-kerning: none;"><br /></span></div>Unknownnoreply@blogger.comtag:blogger.com,1999:blog-4942194192480108747.post-9668005644860276892019-10-06T17:02:00.006+02:002021-04-21T15:37:42.326+02:00"The Quilt". A Sewers Factory (Ghent)<br />
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<span style="font-size: x-small;">photo Tomas Uyttendaele</span></div>
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<span style="color: #666666;"><b style="font-family: Helvetica; font-size: 16px;"><i>A Quilt, a sewers factory, Gent (2019) </i></b><span style="background-color: white; font-family: "helvetica"; font-size: 16px;">betreft de productie van monumentaal genaaid textielwerk dat gebaseerd is op een door de kunstenaar georganiseerde bijeenkomst van lokaal progressieve groeperingen die iets willen veranderen om een betere wereld te creëren. Tijdens die bijéénkomsten vond een collectief gesprek plaats dat prangende maatschappelijke vraagstukken betreffende onze hedendaagse democratische ruimte bespreekbaar maakte. Deze gesprekken zijn te horen en zien op de bijhorende video. De quilt bestaat enerzijds uit de genaaide logo’s van deze groeperingen en anderzijds uit een genaaid schema op witte vlakken stof van het respectievelijk gevoerde gesprek. De installatie is een collectief werk, niet alleen omdat het enkel tot stand konden komen via medewerking van deze groeperingen maar ook omdat het vervaardigd werd in samenwerking met verschillende textielkunstenaars. Zo veranderde deze zomer, tijdens een werkperiode van twee weken, de ruimte van galerie Tatjana Pieters in een naaiatelier/fabriek.</span> </span></div>
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<span style="-webkit-font-kerning: none; color: #666666; font-kerning: none;"><i><b>A Quilt, a sewers factory, Ghent (2019</b></i>) concerns the production of a monumental sewn textile work based on a meeting of locally progressive groups who want to change something in order to create a better world organised by the artist. During these gatherings a collective discussion took place that made pressing social issues concerning our contemporary democratic space discussable. These conversations can be heard and seen on the accompanying video. The quilt consists, on the one hand, of the sewn logos of these groups and, on the other hand, of a sewn diagram from the conversation held respectively on the white parts of the quilt. The installation is a collective work, not only because it could only be realized through the cooperation of these groups, but also because it was made in collaboration with various textile artists. This summer, during a two-week working period, the space of gallery Tatjana Pieters changed into a sewing workshop/factory. </span></div>
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<span style="color: #666666; font-family: "helvetica neue"; font-size: x-small;">photo Tomas Uyttendaele</span></div>
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<p style="color: #5e5e5e; font-family: Helvetica; font-size: 16px; font-stretch: normal; line-height: normal; margin: 0px;"><span style="-webkit-font-kerning: none; font-kerning: none;"><i>Some notes about A Quilt, a sewers factory’ Gent (2019)</i></span></p></span></div><div><span style="-webkit-font-kerning: none; font-kerning: none;"><span style="color: #5e5e5e; font-family: Helvetica;"><span style="caret-color: rgb(94, 94, 94);"><i><br /></i></span></span></span></div><div><span style="-webkit-font-kerning: none; font-kerning: none;"><span style="color: #5e5e5e; font-family: Helvetica;"><span style="caret-color: rgb(94, 94, 94);"><i><br /></i></span></span><span style="color: red;">-----></span></span>
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<span style="-webkit-font-kerning: none; font-kerning: none;"><i><span face=""helvetica neue" , "arial" , "helvetica" , sans-serif"><br /></span></i></span><span style="-webkit-font-kerning: none; font-kerning: none;"><p style="background-color: white; font-stretch: normal; line-height: normal; margin: 0px;"><span style="-webkit-font-kerning: none;"><span style="color: #cc0000; font-size: x-small;"><i style="font-family: Helvetica;">(for </i><span style="font-family: Helvetica;"><span style="caret-color: rgb(94, 94, 94);"><i>English</i></span></span><i style="font-family: Helvetica;">, scroll down)</i></span></span></p><p style="background-color: white; font-stretch: normal; line-height: normal; margin: 0px;"><span style="-webkit-font-kerning: none;"><span style="color: #cc0000;"><i style="font-family: Helvetica; font-size: 16px;"><br /></i></span></span></p><p style="background-color: white; font-stretch: normal; line-height: normal; margin: 0px;"><span style="-webkit-font-kerning: none;"><span style="color: #cc0000;"><i style="font-family: Helvetica; font-size: 16px;"><br /></i></span></span></p><p style="background-color: white; font-stretch: normal; line-height: normal; margin: 0px;"><span style="-webkit-font-kerning: none;"><i style="color: #5e5e5e; font-family: Helvetica; font-size: 16px;"><br /></i></span></p><p style="background-color: white; font-stretch: normal; line-height: normal; margin: 0px;"><span style="-webkit-font-kerning: none;"><i style="color: #5e5e5e; font-family: Helvetica; font-size: 16px;">Enkele notities over ‘A Quilt, a sewers factory’ Gent (2019)</i></span></p><p style="background-color: white; color: #5e5e5e; font-family: Helvetica; font-size: 16px; font-stretch: normal; line-height: normal; margin: 0px; min-height: 19px;"><span style="-webkit-font-kerning: none; font-kerning: none;"></span><br /></p><p style="background-color: white; color: #5e5e5e; font-family: Helvetica; font-size: 16px; font-stretch: normal; line-height: normal; margin: 0px;"><span style="-webkit-font-kerning: none; font-kerning: none;">A/ ik zie het werk als een monumentaal document dat de verschillende locale politieke, activistische groeperingen en de aanwezige democratische energie op een bepaald tijdstip binnen een bepaalde plaats (Gent) in beeld brengt. Verdere quilts zullen gemaakt worden in andere steden. </span></p><p style="background-color: white; color: #5e5e5e; font-family: Helvetica; font-size: 16px; font-stretch: normal; line-height: normal; margin: 0px; min-height: 19px;"><span style="-webkit-font-kerning: none; font-kerning: none;"></span><br /></p><p style="background-color: white; color: #5e5e5e; font-family: Helvetica; font-size: 16px; font-stretch: normal; line-height: normal; margin: 0px;"><span style="-webkit-font-kerning: none; font-kerning: none;">B/ Ik zie het werk als een verbindende act door het bijéénbrengen van deze groepen*. Mijn positie als kunstenaar heeft in die zin een ondersteunende rol. Het werk kent zijn oorsprong in mijn onderzoek/bedenkingen betreffende de relatie tussen esthetiek (kunst) en politiek. Waar de kunstenaar dikwijls vormen van dissensus (of een soort conflict) teweegbrengt, wilde ik me hier richten op de vormen van dissensus die net bij deze groeperingen (in de echte politieke ruimte) aanwezig zijn. Ze breken met de status quo en uiten dat door actie (conflict) en tegelijk hebben ze elk hun eigen narratieven voor een betere toekomst. Wat ik tot stand breng is een vertaling van deze energie.</span></p><p style="background-color: white; color: #5e5e5e; font-family: Helvetica; font-size: 16px; font-stretch: normal; line-height: normal; margin: 0px; min-height: 19px;"><span style="-webkit-font-kerning: none; font-kerning: none;"></span><br /></p><p style="background-color: white; color: #5e5e5e; font-family: Helvetica; font-size: 16px; font-stretch: normal; line-height: normal; margin: 0px;"><span style="-webkit-font-kerning: none; font-kerning: none;">C/ De omzetting van gesprek en logo's naar het textiel verandert wat als extreem gezien wordt in een gevoeligheid die eerder zorg uitdraagt (textiel). Het wil met andere woorden het vervreemdende en afschrikkende beeld van wat als extreem gezien wordt, ombuigen naar iets tactiel. Tegelijk is alles genaaid met een naaimachine (ook de tekst!). Tijdens een intensieve werkperiode deze zomer veranderde de galerie hiervoor in een fabriek/naaiatelier. De arbeid voor het totstandkomen van de quilt en de zorg waarmee het gemaakt is, speelt een belangrijke rol in het werk. Het behelst een erkenning en is een zorgend gebaar. Maar de naald die machinaal duizenden malen door textiel prikt, heeft natuurlijk ook een hardheid die gerelateerd kan worden aan de noodzaak voor maatschappelijke verandering.</span></p><p style="background-color: white; color: #5e5e5e; font-family: Helvetica; font-size: 16px; font-stretch: normal; line-height: normal; margin: 0px; min-height: 19px;"><span style="-webkit-font-kerning: none; font-kerning: none;"></span><br /></p><p style="background-color: white; color: #5e5e5e; font-family: Helvetica; font-size: 16px; font-stretch: normal; line-height: normal; margin: 0px;"><span style="-webkit-font-kerning: none; font-kerning: none;">D/ Historisch verhoudt het werk zich tot het ideeëngoed en de vormgeving van de Russische constructivisten met het naaiatelier als een directe link. De kleurvlakken zijn echter vervangen door kleurrijke logo's waarachter echte groeperingen met een beeld voor een andere toekomst en echte (daadwerkelijke) menselijke energie zitten. Deze beweging wijst ook op de terugkerende bevraging van mijn werk betreffende de relatie tussen kunstruimte (binnen) en maatschappelijke ruimte (buiten). </span></p><p style="background-color: white; color: #5e5e5e; font-family: Helvetica; font-size: 16px; font-stretch: normal; line-height: normal; margin: 0px; min-height: 19px;"><span style="-webkit-font-kerning: none; font-kerning: none;"></span><br /></p><p style="background-color: white; color: #5e5e5e; font-family: Helvetica; font-size: 16px; font-stretch: normal; line-height: normal; margin: 0px;"><span style="-webkit-font-kerning: none; font-kerning: none;">E/ Het werk hangt, kan opgevouwen worden en weer opengevouwen en opgehangen. Het is dus mobiel en kan als decor dienen voor nieuwe gesprekken (in Praag bijvoorbeeld vond tijdens de opening zo een gesprek plaats). Het kan dus steeds geactiveerd worden door opnieuw groepen uit te nodigen voor een gesprek.</span></p><p style="background-color: white; color: #5e5e5e; font-family: Helvetica; font-size: 16px; font-stretch: normal; line-height: normal; margin: 0px; min-height: 19px;"><span style="-webkit-font-kerning: none; font-kerning: none;"></span><br /></p><p style="background-color: white; color: #5e5e5e; font-family: Helvetica; font-size: 16px; font-stretch: normal; line-height: normal; margin: 0px;"><span style="-webkit-font-kerning: none; font-kerning: none;">F/ Ik verhoud me tot deze 'radicale groeperingen' als tegenover omgevingen met mensen met agency die een betere wereld voor ogen hebben en daar actief actie voor ondernemen. Het werk wil zeker en vast counteren dat deze mensen worden weggezet als extreem (in plaats van radicaal (vanuit de wortel)) en daardoor ontmenselijkt worden. Het betogen van verandering en het opnemen van een expliciete politieke verantwoordelijkheid worden hier als diep menselijke en noodzakelijke kwaliteiten voorgesteld. Minder dan een volledig overzicht te geven van het politieke potentieel of de know how tot verandering, betreft het werk dan ook deze beweging van het op een andere meer menselijke wijze zichtbaar maken van verzet**. </span></p><p style="background-color: white; color: #5e5e5e; font-family: Helvetica; font-size: 16px; font-stretch: normal; line-height: normal; margin: 0px; min-height: 19px;"><span style="-webkit-font-kerning: none; font-kerning: none;"></span><br /></p><p style="background-color: white; color: #5e5e5e; font-family: Helvetica; font-size: 16px; font-stretch: normal; line-height: normal; margin: 0px; min-height: 19px;"><span style="-webkit-font-kerning: none; font-kerning: none;"></span><br /></p><p style="background-color: white; color: #5e5e5e; font-family: Helvetica; font-size: 16px; font-stretch: normal; line-height: normal; margin: 0px; min-height: 19px;"><span style="-webkit-font-kerning: none; font-kerning: none;"></span><br /></p><p style="background-color: white; color: #5e5e5e; font-family: Helvetica; font-size: 16px; font-stretch: normal; line-height: normal; margin: 0px; min-height: 19px;"><span style="-webkit-font-kerning: none; font-kerning: none;"></span><br /></p><p style="background-color: white; color: #5e5e5e; font-family: Helvetica; font-size: 16px; font-stretch: normal; line-height: normal; margin: 0px;"><span style="-webkit-font-kerning: none; font-kerning: none;">*Door de verbonden vlaggen en de witte ruimte ertussen met het schema zou je er de verbeelding van een democratisch (maar volledig progressief) parlement in kunnen zien.</span></p><p style="color: #5e5e5e; font-family: Helvetica; font-size: 16px; font-stretch: normal; line-height: normal; margin: 0px; min-height: 19px;"><span style="-webkit-font-kerning: none; font-kerning: none;"><i></i></span><br /></p><p style="background-color: white; color: #5e5e5e; font-family: Helvetica; font-size: 16px; font-stretch: normal; line-height: normal; margin: 0px;"><span style="-webkit-font-kerning: none; font-kerning: none;">**Waar Artur Zmijewski in het werk “Them / Sie” (2007) <i><a href="(https://www.youtube.com/watch?v=Ob3t9l-PzXU)">(https://www.youtube.com/watch?v=Ob3t9l-PzXU)</a></i> eerder de menselijke conditie lijkt bloot te leggen, zet <i>‘A Quilt, a sewers factory’ de </i>kunstruimte expliciet in om een ondersteunde rol te spelen voor een progressief gedachtengoed. <i> </i></span></p><p style="background-color: white; color: #5e5e5e; font-family: Helvetica; font-size: 13px; font-stretch: normal; line-height: normal; margin: 0px; min-height: 16px;"><span style="-webkit-font-kerning: none; font-kerning: none;"></span><br /></p><p style="background-color: white; color: #5e5e5e; font-family: Helvetica; font-size: 13px; font-stretch: normal; line-height: normal; margin: 0px; min-height: 16px;"><span style="-webkit-font-kerning: none; font-kerning: none;"></span><br /></p><p style="background-color: white; color: #5e5e5e; font-family: Helvetica; font-size: 13px; font-stretch: normal; line-height: normal; margin: 0px; min-height: 16px;"><br /></p><p style="background-color: white; color: #5e5e5e; font-family: Helvetica; font-size: 13px; font-stretch: normal; line-height: normal; margin: 0px; min-height: 16px;"><br /></p><p style="background-color: white; font-family: Helvetica; font-stretch: normal; line-height: normal; margin: 0px;"><span style="-webkit-font-kerning: none;"><i><span style="color: #cc0000; font-size: x-small;">(eng.)</span></i></span></p><p style="background-color: white; font-family: Helvetica; font-size: 16px; font-stretch: normal; line-height: normal; margin: 0px;"><span style="-webkit-font-kerning: none;"><i><span style="color: #666666;"><br /></span></i></span></p><p style="background-color: white; font-family: Helvetica; font-size: 16px; font-stretch: normal; line-height: normal; margin: 0px;"><span style="-webkit-font-kerning: none;"><i><span style="color: #666666;">Some notes on 'A Quilt, a sewers factory' Ghent (2019)</span></i></span></p><p style="background-color: white; font-family: Helvetica; font-size: 16px; font-stretch: normal; line-height: normal; margin: 0px; min-height: 19px;"><span style="color: #666666;"><span style="-webkit-font-kerning: none; font-kerning: none;"></span><br /></span></p><p style="background-color: white; font-family: Helvetica; font-size: 16px; font-stretch: normal; line-height: normal; margin: 0px;"><span style="-webkit-font-kerning: none; font-kerning: none;"><span style="color: #666666;">A/ I see the work as a monumental document that depicts the different local political, activist groups and the democratic energy present at a certain time within a certain place (Ghent). Further quilts will be made in other cities. </span></span></p><p style="background-color: white; font-family: Helvetica; font-size: 16px; font-stretch: normal; line-height: normal; margin: 0px; min-height: 19px;"><span style="color: #666666;"><span style="-webkit-font-kerning: none; font-kerning: none;"></span><br /></span></p><p style="background-color: white; font-family: Helvetica; font-size: 16px; font-stretch: normal; line-height: normal; margin: 0px;"><span style="-webkit-font-kerning: none; font-kerning: none;"><span style="color: #666666;">B/ I see the work as a connecting act by bringing these groups together*. My position as an artist has a supporting role in this sense. The work has its origin in my research/thoughts regarding the relationship between aesthetics (art) and politics. Whereas the artist often brings about forms of dissensus (or some kind of conflict), here I wanted to focus on the forms of dissensus that are just present among these groups (in the real political space). They break with the status quo and express it through action (conflict) and at the same time they each have their own narratives for a better future. What I bring to fruition is a translation of this energy.</span></span></p><p style="background-color: white; font-family: Helvetica; font-size: 16px; font-stretch: normal; line-height: normal; margin: 0px; min-height: 19px;"><span style="color: #666666;"><span style="-webkit-font-kerning: none; font-kerning: none;"></span><br /></span></p><p style="background-color: white; font-family: Helvetica; font-size: 16px; font-stretch: normal; line-height: normal; margin: 0px;"><span style="-webkit-font-kerning: none; font-kerning: none;"><span style="color: #666666;">C/ The conversion of the conversation and the logos to the textiles changes what is seen as extreme into a sensibility that rather conveys care (textiles). In other words, it seeks to transform the alienating and deterring image of what is seen as radical into something tactile. At the same time, everything is sewn with a sewing machine (including the text!). During an intensive work period this summer, the gallery turned into a factory/sewing studio for this purpose. The labor for the creation of the quilt and the care with which it was made plays an important role in the work. It involves recognition and is a caring gesture. But the needle that mechanically pokes through textiles thousands of times also has a hardness that can be related to the urgent call and need for social change.</span></span></p><p style="background-color: white; font-family: Helvetica; font-size: 16px; font-stretch: normal; line-height: normal; margin: 0px; min-height: 19px;"><span style="color: #666666;"><span style="-webkit-font-kerning: none; font-kerning: none;"></span><br /></span></p><p style="background-color: white; font-family: Helvetica; font-size: 16px; font-stretch: normal; line-height: normal; margin: 0px;"><span style="-webkit-font-kerning: none; font-kerning: none;"><span style="color: #666666;">D/ Historically, the work relates to the ideas and design of the Russian constructivists with the sewing studio (factory) as a direct link. However, the color areas have been replaced with colorful logos behind which are real groups with ideas and imaginations for a different future and real (actual) human energy. This movement also points to the recurring questioning of my work regarding the relationship between art space (inside) and social space (outside). </span></span></p><p style="background-color: white; font-family: Helvetica; font-size: 16px; font-stretch: normal; line-height: normal; margin: 0px; min-height: 19px;"><span style="color: #666666;"><span style="-webkit-font-kerning: none; font-kerning: none;"></span><br /></span></p><p style="background-color: white; font-family: Helvetica; font-size: 16px; font-stretch: normal; line-height: normal; margin: 0px;"><span style="-webkit-font-kerning: none; font-kerning: none;"><span style="color: #666666;">E/ The work hangs, can be folded and unfolded and hung again. It is thus mobile and can serve as a backdrop for new conversations (in Prague, for example, such a conversation took place during the opening). It can thus be activated again and again by inviting groups to a conversation.</span></span></p><p style="background-color: white; font-family: Helvetica; font-size: 16px; font-stretch: normal; line-height: normal; margin: 0px; min-height: 19px;"><span style="color: #666666;"><span style="-webkit-font-kerning: none; font-kerning: none;"></span><br /></span></p><p style="background-color: white; font-family: Helvetica; font-size: 16px; font-stretch: normal; line-height: normal; margin: 0px;"><span style="-webkit-font-kerning: none; font-kerning: none;"><span style="color: #666666;">F/ I relate to these 'radical groups' as to environments with people with agency who envisage a better world and actively take action for it. The work certainly wants to counter that these people are dismissed as extreme (rather than radical (from the root)) and thereby dehumanized. Arguing for change and taking explicit political responsibility are presented here as deeply human and necessary qualities. Less than giving a complete overview of the political potential or know-how for change, the work therefore concerns this movement of making resistance visible in a different, more humane way**. </span></span></p><p style="background-color: white; font-family: Helvetica; font-size: 16px; font-stretch: normal; line-height: normal; margin: 0px; min-height: 19px;"><span style="color: #666666;"><span style="-webkit-font-kerning: none; font-kerning: none;"></span><br /></span></p><p style="background-color: white; font-family: Helvetica; font-size: 16px; font-stretch: normal; line-height: normal; margin: 0px; min-height: 19px;"><span style="color: #666666;"><span style="-webkit-font-kerning: none; font-kerning: none;"></span><br /></span></p><p style="background-color: white; font-family: Helvetica; font-size: 16px; font-stretch: normal; line-height: normal; margin: 0px; min-height: 19px;"><span style="color: #666666;"><span style="-webkit-font-kerning: none; font-kerning: none;"></span><br /></span></p><p style="background-color: white; font-family: Helvetica; font-size: 16px; font-stretch: normal; line-height: normal; margin: 0px; min-height: 19px;"><span style="color: #666666;"><span style="-webkit-font-kerning: none; font-kerning: none;"></span><br /></span></p><p style="background-color: white; font-family: Helvetica; font-size: 16px; font-stretch: normal; line-height: normal; margin: 0px;"><span style="-webkit-font-kerning: none; font-kerning: none;"><span style="color: #666666;">*Because of the connected flags and the white space between them with the diagram, one could see in it the representation of a democratic (but fully progressive) parliament.</span></span></p><p style="background-color: white; font-family: Helvetica; font-size: 16px; font-stretch: normal; line-height: normal; margin: 0px; min-height: 19px;"><span style="color: #666666;"><span style="-webkit-font-kerning: none; font-kerning: none;"></span><br /></span></p><p style="background-color: white; font-family: Helvetica; font-size: 16px; font-stretch: normal; line-height: normal; margin: 0px;"><span style="-webkit-font-kerning: none;"><span style="color: #666666;">**While Artur Zmijewski's work "Them / Sie" (2007) <a href="(https://www.youtube.com/watch?v=Ob3t9l-PzXU)"><i>(https://www.youtube.com/watch?v=Ob3t9l-PzXU)</i></a> seems rather to expose the human condition, "A Quilt, a sewers factory" explicitly deploys the art space to play a supporting role for progressive thought. </span></span></p><p style="background-color: white; color: #5e5e5e; font-family: Helvetica; font-size: 13px; font-stretch: normal; line-height: normal; margin: 0px; min-height: 16px;"><br /></p><p style="background-color: white; color: #5e5e5e; font-family: Helvetica; font-size: 16px; font-stretch: normal; line-height: normal; margin: 0px; min-height: 19px;"><span style="-webkit-font-kerning: none; font-kerning: none;"></span><br /></p><p style="background-color: white; color: #5e5e5e; font-family: Helvetica; font-size: 16px; font-stretch: normal; line-height: normal; margin: 0px; min-height: 19px;"><span style="-webkit-font-kerning: none; font-kerning: none;"></span><br /></p><p style="background-color: white; color: #5e5e5e; font-family: Helvetica; font-size: 16px; font-stretch: normal; line-height: normal; margin: 0px;"><span style="-webkit-font-kerning: none; font-kerning: none;"><i>photos exhibition Tatiana Pieters Ghent, Tomas Uyttendaele</i></span></p><div><span style="-webkit-font-kerning: none; font-kerning: none;"><i><br /></i></span></div></span>
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Unknownnoreply@blogger.comtag:blogger.com,1999:blog-4942194192480108747.post-53561099337521633982019-09-28T16:53:00.006+02:002023-11-02T16:06:29.453+01:00Curating is Writing the Future. A Portrait<div class="separator" style="clear: both; text-align: center;">
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<span style="font-family: helvetica; font-size: x-small;">photo Jean-Didier-Gazeau</span></div>
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<p style="color: #5e5e5e; font-family: Helvetica; font-size: 16px; font-stretch: normal; line-height: normal; margin: 0px;"><span style="-webkit-font-kerning: none; font-kerning: none;"><i><a href="https://caveat.be/produsers/stijn-van-dorpe.html">https://caveat.be/produsers/stijn-van-dorpe.html</a></i></span></p>
<p style="color: #5e5e5e; font-family: Helvetica; font-size: 16px; font-stretch: normal; line-height: normal; margin: 0px;"><span style="-webkit-font-kerning: none; font-kerning: none;"><i><a href="https://www.ete78.com/portfolio-item/stijn-van-dorpe/">https://www.ete78.com/portfolio-item/stijn-van-dorpe/</a></i></span></p><p style="color: #5e5e5e; font-family: Helvetica; font-size: 16px; font-stretch: normal; line-height: normal; margin: 0px;"><span style="-webkit-font-kerning: none; font-kerning: none;"><i><br /></i></span></p><p style="color: #5e5e5e; font-family: Helvetica; font-size: 16px; font-stretch: normal; line-height: normal; margin: 0px;"><span style="-webkit-font-kerning: none; font-kerning: none;"><i><br /></i></span></p><p style="color: #5e5e5e; font-family: Helvetica; font-size: 16px; font-stretch: normal; line-height: normal; margin: 0px;"><span style="-webkit-font-kerning: none; font-kerning: none;"><span style="background-color: white;">Some notes on </span><i>Curating is writing the future, a portrait’</i><span style="background-color: white;"> in preparation of a lecture:</span></span></p></div><div style="text-align: left;">
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<p style="background-color: white; color: #5e5e5e; font-stretch: normal; line-height: normal; margin: 0px;"><span style="-webkit-font-kerning: none; font-kerning: none;"><i>‘Curating is writing the future, a portrait’</i> the title of the project/exhibition I did at été 78 (in the frame of caveat) has started from regularly hold encounters with Oliver Gevart the driving force behind the initiative and an art collector (what is a usually working method for him). During these meetings I did try to understand and get to know what été 78 stands for, what the motives were behind it, what the ambitions of Olivier Gevart were and what Oliver (and Nicole his partner who was less involved), what their visions on the gallery and more broader on society were. This led me to map some (what I thought were for them and the gallery) important places and conceived these places as a Micro environment, in which I wanted to go into for my work and related exhibition. </span></p><div><span style="-webkit-font-kerning: none; font-kerning: none;"><br /></span></div></div>
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<span style="-webkit-font-kerning: none; color: #666666; font-kerning: none;">The <b><i>private house</i></b>, which also contains the <b><i>private art-collection</i></b> of Olivier and Nicole. </span></div>
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<span style="-webkit-font-kerning: none; color: #666666; font-kerning: none;">The small <b><i>give away library</i></b> a concept brought into the street by Nicole and Olivier (as an idea to engage with the neighborhood, render some social activity with the goal of more social cohesion). Reaching/facing to the street (making contact with neighbours) seemed to be important for them. The library, a wooden case was built some years ago by students of ‘<b><i>convivial </i></b>mouvement d’insertion des réfugiés’ (a workplace and training program for newcomers/mainly ‘legalised’ refugies which the aim to help them integrate in society) (so the library was made in the carpentry department)</span></div>
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<span style="-webkit-font-kerning: none; color: #666666; font-kerning: none;"><b><i>Le fonds du logement de la Région Bruxelles-Capitale</i></b> at the other site of the street. (2 motives which led to this choice: Olivier had a conflict with them during the renovations at his house/gallery (something that had to do with a crane) and his current job is very related, le fonds du logement provides social loans for people who want to buy a house -Olivier (of his part) has a compagnie providing social loans for starters in sustainable entrepreneurship.) </span></div>
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<span style="-webkit-font-kerning: none; color: #666666; font-kerning: none;"><b><i>Contemporary art gallery</i></b> (a kind of white space/cube in spirit, but with quiet some disruptions)</span></div>
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<span style="-webkit-font-kerning: none; color: #666666; font-kerning: none;">At all these spaces a person or persons were connected with who I wanted to make and made contact, cooperated, related… Olivier (here referred to as the <b><i>co-initiator</i></b> of the project and the <b><i>art-collector</i></b>), <b><i>the teachers</i></b> of convivial giving the carpentry course, <b><i>the civil servants</i></b> of the <i>fond du logement</i>, <b><i>the curator</i></b> of my future exhibition at été 78 and of caveat, Florence Cheval.</span></div>
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<span style="-webkit-font-kerning: none; color: #666666; font-kerning: none;">Every encounter had its own dynamics and stories and has lead to specific interventions, space making, conflicts, research etcetera. Every encounter left also a trace that get a place in the exhibition held at été 78 in september/october 2019. </span></div>
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About my cooperation with the teachers of convivial: at the first meeting it was difficult to gain confidence, I had not yet a clear idea what we could do (what I wanted to do), so it remained very abstract for them (and beside art is often something people feel very uncomfortable with). They told me that they couldn’t do something extra beside the lessons, because half a year (the time of the course) is very short to learn the students the basics of carpentry. That was also the reason they didn’t go into commissions of externs anymore. When I went back the second time I had a clear proposition. I ask them to make frames with the students in which they would use the basic exercises of carpentry to ornament the frame (saw and cut exercises). The teachers were very positive about this idea - one of them did start immediately to think with me about different possibilities for the frame. Another important element of the work was that I attended the workshop myself and also produced some pieces/slats of the frames. I even turned out to be a good student. (this cooperation worked out really nice, there was a growing trust and the atmosphere during the working process was very interesting). </span></div>
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<span style="-webkit-font-kerning: none; background-color: white; color: #666666; font-kerning: none;">The attempt to cooperate with <i>le fonds du logement, </i>became a very hard and difficult path with at the end a bad outcome (it is impossible to go into details here but there are some interesting documents and emails illustrating the course of events). But I will give briefly a chronology of the events: First (after many efforts) I could arrange a meeting with Linda who was the substitute communication manager. On that meeting I talked about my idea or wish to bring one or more art pieces of Oliviers collection into some offices of the servants. She discussed this later with the direction/management and let us know by an email that it was not allowed to bring an art piece in the offices because it would disturb the employees (people would run in and out). But they aloud on hanging an art work in the atrium (a compromise). We (Olivier and me) accepted the consensus of hanging a piece (a photograph by Vincen Beeckman) in the atrium but for me this could only be a step in a process to a more precise and more meaningful intervention. Le fond du logement allowed us later I to arrange a meeting in the council room with the civil servants to do a new proposal. But the agreement with the fonds du logement was clear, the employees could only participate on ‘in personal capacity’ (ten persoonlijke titel). On that meeting I proposed or rather asked if some employees were willing to place a small tractor, an art piece of Floris Hovers, on the corner of their working desk during a certain period, and this under the employees own responsibility. (image: the tractors are made by remnants of the furniture creations of Floris Hovers, when he creates assemblages with these unused remnants (waste), he calls himself an artist (instead of a designer) and the assemblages made with non-productive remnants become thus works of arts). That meeting became something (and its difficult to find the right words) very strange. (to clarify that I will read this fragment of a letter I wrote later to Linda/the communication manager) </span></div>
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<span style="-webkit-font-kerning: none; color: #444444; font-kerning: none;">With curator Florence Cheval we focused on our practises and position as respectively a curatorial perspective and an artistic practise with curatorial aspects. We had conversations about this and there was some writing back and forth and then we decide to each take on one of the other’s tasks. I asked Florence to imagine a way to give a shape to our exchange in the context of the exhibition space in Eté78. Florence proposed me, and I quote, she proposed me “to write for me/instead of me/as if you were at my place - the second part of the exchange we had on curatorial positionings. This written proposal would echo the discussions we had about the fact that the funding for Caveat has ended, and problematise - with your own words - issues of continuity, interdependency, precarity from a curator's perspective (not an artists' perspective, this time - though the result may be quite the same?…). The proposal is that you sit at my place and imagine how you would respond to this situation…” </span></div>
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<span style="-webkit-font-kerning: none; color: #444444; font-kerning: none;">Finally Florence added in the exhibition a hand written quote of a fragment of one of her emails on the wall not to striking, close to the ground.</span></div>
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<span style="color: #666666;"><span style="-webkit-font-kerning: none; font-kerning: none;">Back to the regular talks with Olivier, the co-initiator and driving force behind of été 78 these filled cans (see picture below) </span><span style="-webkit-font-kerning: none; font-kerning: none;">relate to a testimony of him. At one of our meetings he</span><span style="-webkit-font-kerning: none; font-kerning: none;"> complained about some vernissages at the gallery that many students of the Brussels academy of fine arts </span><span style="-webkit-font-kerning: none; font-kerning: none;">attended</span><span style="-webkit-font-kerning: none; font-kerning: none;">, but where they didn’t hardly look at the works of art and seemed only to be interested in the beers. This story stroke me because it touches the conflict between his wish to purity (also the white purity of the artworld/cube) on the one hand and finding acces to the street and a broader public (life) on the other. I decided to only serve water on the opening and made the cans part of the installation. However I filled one of the cans with vodka. (</span><span style="-webkit-font-kerning: none; font-kerning: none;">Which is a</span><span style="-webkit-font-kerning: none; font-kerning: none;">nother link (even a coincidental one) that has to do with the former job of Olivier, he use to trade in ethyl alcohol which is the main constituent of vodka) </span></span></div>
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<span style="-webkit-font-kerning: none; color: #666666; font-kerning: none;">The entire installation itself became on its turn an object related to Olivier as the art-collector. Because as we will see later he will inherit the responsibility of and care taking for the installation. </span></div>
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<span style="-webkit-font-kerning: none; color: #666666; font-kerning: none;">You see standards which carry contracts in 3 languages related to every cooperation or interference. They form for me <i>a different level of the show</i> and/or installation and connect the work with caveat/making contracts was the initial starting point of the project. </span></div>
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<span style="-webkit-font-kerning: none; color: #666666; font-kerning: none;">These contracts were activated during the opening with the involved people and later with the audience by different reading sessions/performances during the course of the exhibition.</span></div>
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<span style="-webkit-font-kerning: none; color: #666666; font-kerning: none;">The contracts form a layer of the work that also connect the work with caveat/it was the initial starting point. </span></div>
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<span style="-webkit-font-kerning: none; color: #666666; font-kerning: none;">They have very different sensibilities and meanings related to their context. Sometimes they were a tool, once completely inappropriate. </span></div>
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<span style="-webkit-font-kerning: none; color: #666666; font-kerning: none;">Wood workshop: I couldn’t take it as a starting point/ working there was all about a growing trust / the contract is made after the facts / it is completely not representative for what happened/in a way it objectify the actors/ it felt for me even a bit aggressive - I experienced it later as a conceptual layer that lays above the very relational sensitive experience. </span></div>
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<span style="-webkit-font-kerning: none; color: #666666; font-kerning: none;">Housing fund: the attempt to make a contract made things visible about the structure and kind of bureaucracy of the company and working conditions of the employees. </span></div>
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<span style="-webkit-font-kerning: none; color: #666666; font-kerning: none;">With Florence the curator: the contract was made much more in harmony and functioned as an exercise in scanning and challenge our role, it was very much also an exercise in equality. The contract functioned as a tool. </span></div>
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<span style="-webkit-font-kerning: none; color: #666666; font-kerning: none;">The initial contract with Olivier as co-initiator: was more a formalisation of the starting point and working methode he use to apply. There was not much tension in it</span></div>
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<span style="-webkit-font-kerning: none; color: #666666; font-kerning: none;">With Olivier as collector: it is the most explicit political document. It excludes the collector from speculation and ownership. In the exhibition it is also a kind of window to the future (a resumption and continuation of the piece)…)</span></div>
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<span style="-webkit-font-kerning: none; font-kerning: none; text-decoration: underline;"><i><a href="https://caveat.be/produsers/stijn-van-dorpe.html">https://caveat.be/produsers/stijn-van-dorpe.html</a></i></span></div><div style="background-color: white; color: #551a8b; font-family: "Helvetica Neue"; font-size: 16px; font-stretch: normal; line-height: normal;"><span style="-webkit-font-kerning: none; font-kerning: none; text-decoration: underline;"><br /></span></div><div style="background-color: white; font-size: 16px; font-stretch: normal; line-height: normal;"><span style="color: #666666; font-family: helvetica;"><br /></span></div><div style="background-color: white; font-size: 16px; font-stretch: normal; line-height: normal;"><span style="color: #666666; font-family: helvetica;">for related essay: </span></div><div style="background-color: white; font-size: 16px; font-stretch: normal; line-height: normal;"><span style="color: #666666; font-family: helvetica;"><br /></span></div><div style="background-color: white; font-size: 16px; font-stretch: normal; line-height: normal;"><span style="background-color: transparent;"><span style="color: #666666; font-family: helvetica;"><i><a href="https://stijnvandorpe.blogspot.com/2018/06/van-dorpe-cottin-cadere-building-art.html#more">https://stijnvandorpe.blogspot.com/2018/06/van-dorpe-cottin-cadere-building-art.html#more</a></i></span></span></div><div style="background-color: white; font-size: 16px; font-stretch: normal; line-height: normal;"><span style="color: #666666; font-family: helvetica;"><u><br /></u></span></div>
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<span style="-webkit-font-kerning: none; color: #666666; font-kerning: none;"><b><i>VAN DORPE / COTTIN / CADERE</i> <i>BUILDING AN ART COMMUNITY</i></b></span></div>
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<span style="-webkit-font-kerning: none; color: #666666; font-kerning: none;">In the early seventies André Cadere made sticks from wooden blocks, mathematically ordered by colour, the series always being disrupted with one mistake (exchanging two colours). With these <i>paintings without end </i>the artist would appear at openings of contemporary art exhibitions, as well as in other private or public spaces. In part because Cadere had a relatively large number of exhibitions in Belgium, many of his works ended up in Belgian art collections. More than 30 years after Cadere, Audrey Cottin made remakes of these works owned by Belgian art collectors, this time made from rolled up plastic ribbons of industrial fly curtains. Another ten years later, Stijn Van Dorpe unrolls copies of these imitations and restores them to functional fly curtains that are donated to interested residents of the Watervlietstraat in the Rabotwijk in Ghent.</span></div>
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<span style="-webkit-font-kerning: none; color: #666666; font-kerning: none;">On Sunday 1 Juli 2018 at 1.45pm there will be a happening* starting from <i>Tatjana Pieters</i>, Nieuwevaart 124/001, 9000 Ghent. The happening will take half an hour and is a collaboration between Audrey Cottin and Stijn Van Dorpe.</span></div>
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<span style="-webkit-font-kerning: none; color: #666666; font-kerning: none;">* The word happening is freely used after the meaning the Situationists gave to it, as a staged, poetic and order-disruptive action in public space.</span></div>
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<span style="-webkit-font-kerning: none; color: #666666; font-kerning: none;">1/ The spectators gather at Tatjana Pieters. The work is initiated, the context as described above, given in greater detail. The spectators are divided into 3 groups by drawing of lots and the <i>Cottin</i> sticks are distributed among the spectators. The spectators leave with a guide. Two groups walk/move towards two outlined squares in the Watervlietstraat, one group walks onto the bridge to a point where they have a sight on the happening in the street. </span></div>
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<span style="-webkit-font-kerning: none; color: #666666; font-kerning: none;">2/ When the groups are positioned, I walk into the street from the West with a silkscreen depicting a <i>Cadere</i> stick, enter a house and hang the frame on a nail in the hallway. From the East, a collector walks into the street with an original <i>Cadere</i> stick, he looks for the matching fly curtain upon which this <i>Cadere</i> stick is based and places the stick carefully in front of the house. A second collector walks from the East into the street and does the same. The spectators with a <i>Cottin</i> stick leave their (outlined) squares and look for the fly curtain that matches their stick and place the stick in front of the house.</span></div>
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<span style="-webkit-font-kerning: none; color: #666666; font-kerning: none;">3/ The other spectators leave their (outline) square and walk freely into the street. The residents have provided appetizers and conversations emerge.</span></div>
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<span style="-webkit-font-kerning: none; color: #666666; font-kerning: none;"><b><i>VAN DORPE / COTTIN / CADERE</i> <i>BUILDING AN ART COMMUNITY</i></b></span></div>
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<span style="-webkit-font-kerning: none; color: #666666; font-kerning: none;">In de vroege jaren zeventig vervaardigde André Cadere stokken uit mathematisch volgens kleur geordende houten blokjes, waarbij deze reeksen telkens met één fout (een omwisseling van twee kleuren) verstoord werden. Met deze <i>schilderijen zonder einde</i> verscheen hij zowel op openingen van hedendaagse kunsttentoonstellingen als in andere private of openbare ruimtes. Onder andere omdat Cadere relatief veel tentoonstellingen in België had, belandden een groot aantal van zijn werken in Belgische kunstcollecties. Ruim dertig jaar na Cadere maakte Audrey Cottin deze kunstwerken in het bezit van Belgische kunstverzamelaars na, maar dit keer vervaardigd uit opgerolde plastieken linten van industriële vliegengordijnen. Nog eens tien jaar later ontrolt Stijn Van Dorpe Kopieën van deze imitaties en herstelt ze tot functionele vliegengordijnen die geschonken worden aan geïnteresseerde bewoners van de watervlietstraat in de Gentse Rabotwijk.</span></div>
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<span style="-webkit-font-kerning: none; color: #666666; font-kerning: none;">Op zondag 1 juli 2018 om 13u45 vindt een happening* plaats die van start gaat bij <i>Tatjana Pieters</i>, Nieuwevaart 124/001, 9000 gent. De happening duurt een half uur en is een samenwerking tussen Audrey Cottin en Stijn Van Dorpe.</span></div>
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<span style="color: #666666;"><span style="-webkit-font-kerning: none; font-size: 13.2px; font-stretch: normal; line-height: normal;">*</span><span style="font-size: 10.7px;">Het woord happening wordt vrij gebruikt naar de betekenis die de Situationisten eraan gaven, als een vooraf geënsceneerde, poëtische, orde verstorende actie in de publieke ruimte.</span><span style="-webkit-font-kerning: none; font-kerning: none;"></span></span></div>
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<span style="color: #666666;"><span style="-webkit-font-kerning: none; font-kerning: none;">1/ De toeschouwers verzamelen bij Tatjana Pieters. Het werk wordt ingeleid, de context zoals hierboven beschreven wordt uitgebreider meegegeven. De toeschouwers worden door lottrekking in 3 groepen verdeeld alsook worden de Cottin stokken verdeeld onder de toeschouwers. De toeschouwers vertrekken onder begeleiding. Twee groepen naar twee uitgetekende vakken in de Watervlietstraat één groep wandelt op de brug tot een punt vanwaar ze overzicht hebben op het gebeuren in de straat. </span><br />
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<span style="-webkit-font-kerning: none; color: #666666; font-kerning: none;">2/ Wanneer de groepen gepositioneerd zijn, wandel ik de straat in vanaf het Westen, met een zeefdruk van een Cadere stok, ga een huis binnen en hang het kader op aan een nageltje in de ingang. Vanaf het Oosten wandelt een verzamelaar de straat in met een originele Cadere stok, hij zoekt de bijpassende deur waarvan het vliegengordijn op zijn Cadere stok geïnspireerd is en plaats de stok zorgvuldig voor het huis. Een tweede verzamelaar wandelt vanaf het Oosten de straat in en doet hetzelfde. De toeschouwers met een Cottin stok verlaten hun kader en gaan op zoek naar het vliegengordijn die bij hun stok past en plaatsen de stok voor het huis.</span></div>
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<span style="background-color: white; color: #666666; font-family: helvetica; font-size: 16px;">3/ De andere toeschouwers verlaten hun vak en wandelen vrij in de straat. De bewoners hebben hapjes voorzien er ontstaan gesprekken.</span></div>
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<span style="background-color: white; color: #666666; font-family: "cambria"; font-size: xx-small;">film still</span><span style="background-color: white; color: #666666; font-family: "cambria"; font-size: xx-small;"> Maarten Van Luchene</span></div>
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<span style="background-color: white; color: #666666; font-family: "cambria"; font-size: xx-small;">film stills Eva Giolo </span></div>
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<div style="color: #0f0f0f;">
<span style="background-color: white; color: #666666; font-family: "cambria"; font-size: xx-small;">film stills</span><span style="background-color: white; color: #666666; font-family: "cambria"; font-size: xx-small;"> Maarten Van Luchene</span></div>
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<span style="background-color: white; color: #666666; font-family: "cambria"; font-size: xx-small;">film stills Eva Giolo </span></div>
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<span style="background-color: white; color: #666666; font-family: "cambria"; font-size: xx-small;">photos Tomas Uyttendaele, expo Tatjana Pieters, Van Dorpe Cottin Cadere editie 1:1</span></div><div class="separator" style="clear: both; color: #0f0f0f; text-align: left;"><span style="background-color: white; color: #666666; font-family: "cambria"; font-size: xx-small;"><br /></span></div>
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjntsEXaBebYhC4XmIfZHmxz9dHM4CgvykPBvEhJnSwCduZrbFfjFjuO-NXtrWNeJifGYnw_bvCQ-u8xeAK0koPA7hEhYn55IssX3-ktBnSMfsEObm9VMYO2gLiZMHvMoOV5ZOSKybxo03t/s1600/brief+verzamelaars.jpg" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="1600" data-original-width="1237" height="640" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjntsEXaBebYhC4XmIfZHmxz9dHM4CgvykPBvEhJnSwCduZrbFfjFjuO-NXtrWNeJifGYnw_bvCQ-u8xeAK0koPA7hEhYn55IssX3-ktBnSMfsEObm9VMYO2gLiZMHvMoOV5ZOSKybxo03t/s640/brief+verzamelaars.jpg" width="494" /></a></div><div class="separator" style="clear: both; text-align: center;"><br /></div><div class="separator" style="clear: both; text-align: left;"><p style="-webkit-text-stroke-color: rgb(0, 0, 0); -webkit-text-stroke-width: initial; background-color: #fefefe; font-stretch: normal; line-height: normal; margin: 0px; text-align: justify;"><span style="color: #cc0000; font-family: helvetica; font-size: x-small;"><span style="-webkit-font-kerning: none;">essay dutch/</span><span style="background-color: transparent; caret-color: rgb(102, 102, 102); text-align: left;">written for </span><i style="background-color: transparent; caret-color: rgb(102, 102, 102); text-align: left;">'tears of the art market' kunsthal Ghent (07-2020)</i></span></p><p style="-webkit-text-stroke-color: rgb(0, 0, 0); -webkit-text-stroke-width: initial; background-color: #fefefe; font-stretch: normal; line-height: normal; margin: 0px; text-align: justify;"><span style="font-kerning: none;"><span style="font-family: helvetica; font-size: x-small;"><br /></span></span></p><p style="-webkit-text-stroke-color: rgb(0, 0, 0); -webkit-text-stroke-width: initial; background-color: #fefefe; font-stretch: normal; line-height: normal; margin: 0px; text-align: justify;"><span style="font-kerning: none;"><span style="font-family: helvetica; font-size: x-small;">“Ook ik heb me afgevraagd of ik niet iets kon verkopen om te slagen in het leven” staat op de uitnodigingskaart van Marcel Broodthaers’ eerste tentoonstelling. Hij is dan reeds veertig jaar, heeft er verschillende beroepen opzitten, van journalist, boekenhandelaar, museumgids tot fotograaf, maar schreef daarnaast vooral sinds zijn studietijd gedichten. Van de vier dichtbundels die hij maakte kon hij maar weinig exemplaren verkopen en dat enkel aan sommige vrienden en bekenden. “Uiteindelijk”, gaat hij verder, “kwam ik op het idee iets onoprechts uit te vinden en ik ben meteen aan de slag gegaan”. Het vervolg is gekend: Broodthaers groeit uit tot een van de belangrijkste beeldende kunstenaars van de twintigste eeuw. </span></span></p>
<p style="-webkit-text-stroke-color: rgb(0, 0, 0); -webkit-text-stroke-width: initial; background-color: #fefefe; font-stretch: normal; line-height: normal; margin: 0px; min-height: 13px; text-align: justify;"><span style="font-family: helvetica; font-size: x-small;"><span style="font-kerning: none;"></span><br /></span></p>
<p style="-webkit-text-stroke-color: rgb(0, 0, 0); -webkit-text-stroke-width: initial; background-color: #fefefe; font-stretch: normal; line-height: normal; margin: 0px; text-align: justify;"><span style="font-kerning: none;"><span style="font-family: helvetica; font-size: x-small;">Broodthaers werd een kunstenaar in zijn poging om ‘onoprecht’ te worden. Hij breekt daarmee radicaal met een hardnekkige mythe van het modernisme—een mythe die in zijn tijd nogal wat invloed had en nog steeds heeft—dat echte kunst een expressie van de ware identiteit van de kunstenaar is, of op zijn minst van de deconstructie van die identiteit. Het is een denkbeeld waarin avant-garde kunst gezien wordt als een authentieke creatie. Authentiek in die zin dat er geput dient te worden uit het leven dat zich binnenin de kunstenaar bevindt en derhalve ver weg dient te blijven van allerhande onzuivere indringers zoals ideologische en politieke agenda’s, evenals van bijvoorbeeld de economische marktlogica van de kunst. </span></span></p>
<p style="-webkit-text-stroke-color: rgb(0, 0, 0); -webkit-text-stroke-width: initial; background-color: #fefefe; font-stretch: normal; line-height: normal; margin: 0px; min-height: 13px; text-align: justify;"><span style="font-family: helvetica; font-size: x-small;"><span style="font-kerning: none;"></span><br /></span></p>
<p style="-webkit-text-stroke-color: rgb(0, 0, 0); -webkit-text-stroke-width: initial; background-color: #fefefe; font-stretch: normal; line-height: normal; margin: 0px; text-align: justify;"><span style="font-kerning: none;"><span style="font-family: helvetica; font-size: x-small;">In zijn tekst ‘education by infection’ brengt Boris Groys deze onoprechtheid die Broodthaers ongegeneerd uitspreekt in verband met het hedendaagse kunstonderwijs. Hij beschrijft hoe kritische theorie vandaag net zo goed als markt- en netwerkdynamieken makkelijk toegang vinden bij kunststudenten. De academiemuren die traditioneel de student isoleren van de buitenwereld hebben hier weinig invloed op. De tekst stelt de vraag hoe ze hier moeten mee omgaan. Enerzijds zouden studenten kunnen proberen om deze veelheid aan kritische informatie en invloeden van buitenaf te overwinnen of te negeren door zich een boven- of buitenpositie toe te meten. Anderzijds zouden ze als logische gevolgtrekking van deze kritische theorie kunnen beslissen om de wereld te gaan genezen en bijgevolg de kunst laten voor wat die is. Beide oplossingen verraden voor Groys echter het moderne project van de kunst dat er net in bestaat om ‘onoprecht’ te zijn, om te leven door middel van het geïnfecteerd zijn. Niet alleen geïnfecteerd door wat zich openbaart als humaan (het ‘goede’) maar evenzeer als inhumaan (het ‘slechte’).</span></span></p>
<p style="-webkit-text-stroke-color: rgb(0, 0, 0); -webkit-text-stroke-width: initial; background-color: #fefefe; font-stretch: normal; line-height: normal; margin: 0px; min-height: 13px; text-align: justify;"><span style="font-family: helvetica; font-size: x-small;"><span style="font-kerning: none;"></span><br /></span></p>
<p style="-webkit-text-stroke-color: rgb(0, 0, 0); -webkit-text-stroke-width: initial; background-color: #fefefe; font-stretch: normal; line-height: normal; margin: 0px; text-align: justify;"><span style="font-kerning: none;"><span style="font-family: helvetica; font-size: x-small;">Geïnfecteerd zijn, impliceert tenslotte voornamelijk het toelaten van het andere (en de ander) in onszelf, om anders te worden. Niet om te assimileren met het vreemde maar daarentegen om in het vreemde binnen te dringen en vooral om vreemd te worden aan de eigen traditie (zo ook die van de kunst zelf). Veel verder dan als een concept van tolerantie manifesteert deze vervreemding via de infectie zich als een innerlijke solidariteit met de ander, met de alien; zelfs met deze die bedrieglijk en gruwelijk is. Geïnfecteerd door een politieke of maatschappelijke agenda, als door economische en markt-gelieerde dynamieken, ondergaat de kunststudent/kunstenaar onvermijdelijk de verschillende stadia van het binnendringen van bacillen in een systeem: een schok in het systeem, zwakheid, resistentie, aanpassing en vernieuwing, aldus Boris Groys.</span></span></p>
<p style="-webkit-text-stroke-color: rgb(0, 0, 0); -webkit-text-stroke-width: initial; background-color: #fefefe; font-stretch: normal; line-height: normal; margin: 0px; min-height: 13px; text-align: justify;"><span style="font-family: helvetica; font-size: x-small;"><span style="font-kerning: none;"></span><br /></span></p>
<p style="-webkit-text-stroke-color: rgb(0, 0, 0); -webkit-text-stroke-width: initial; background-color: #fefefe; font-stretch: normal; line-height: normal; margin: 0px; text-align: justify;"><span style="font-kerning: none;"><span style="font-family: helvetica; font-size: x-small;">Het is in die zin dat ik—in retrospect—de kunstverzamelaar als een vreemde in mezelf toeliet. Als beginnende kunstenaar voelde ik de verleiding om een kleine kunstverzameling aan te leggen en al sloeg die verleiding later om in haar tegendeel—wat betekende het bewust niet verzamelen van kunst—loopt er sedertdien een dunne draad door mijn kunstpraktijk waarin de kunstverzamelaar als figuur en het collectioneren van kunst een motief vormen. Het was pas jaren na mijn korte en tot nader order aarzelende verzamelactiviteit dat ik met betrekking hiertoe een eerste expliciete act ondernam. Ik reisde met de trein van Gent naar Antwerpen met een schilderij uit mijn kleine collectie onder de arm, een werk van de in 1985 overleden Gentse schilder Armand Vanderlick, dat ik voor een voordelige prijs gekocht had van zijn zoon die ik destijds had geïnterviewd in het kader van mijn afstudeerscriptie aan Sint-Lucas. In Antwerpen aangekomen waarde ik een uur lang met het werk rond in het station alvorens de trein terug te nemen. De performance was onderdeel van een kunstproject waarbij slechts enkele ingewijden of geïnformeerden als toeschouwers het gebeuren als kunstwerk waarnamen. </span></span></p>
<p style="-webkit-text-stroke-color: rgb(0, 0, 0); -webkit-text-stroke-width: initial; background-color: #fefefe; font-stretch: normal; line-height: normal; margin: 0px; min-height: 13px; text-align: justify;"><span style="font-family: helvetica; font-size: x-small;"><span style="font-kerning: none;"></span><br /></span></p>
<p style="-webkit-text-stroke-color: rgb(0, 0, 0); -webkit-text-stroke-width: initial; background-color: #fefefe; font-stretch: normal; line-height: normal; margin: 0px; text-align: justify;"><span style="font-kerning: none;"><span style="font-family: helvetica; font-size: x-small;">Het was dus niet zonder eerst de verzamelaar in mezelf letterlijk in het spel te hebben gebracht, dat ik er later toe overging om andere verzamelaars en hun verzamelactiviteit in mijn werk te betrekken. Dit gebeurde voornamelijk bij drie projecten: (1) ‘Liège Guillemins’, waarbij ik een groep kunstverzamelaars die het platform voor hedendaagse kunst Emergent in Veurne financieel ondersteunen, aanzette om de act die ik zelf deed in Antwerpen te herhalen maar dan in het station van Luik en met het lievelingswerk uit hun eigen collectie; (2) ‘Van Dorpe, Cottin, Cadere’ (Building an Art Community) waarbij kunstwerken van André Cadere--staven van ronde gekleurde houten blokjes (barres de bois ronde), in eigendom van Belgische kunstverzamelaars die ik voor het project ging opzoeken—omgezet werden in vliegengordijnen voor bewoners van de Watervlietstraat in de Rabotbuurt; en (3) ‘Curating is Writing the Future, A Portret’ waarbij het gesprek met Olivier Gevart, kunstverzamelaar en initiator van de non-profit kunstruimte Eté 78 centraal stond voor de ontwikkeling van een kunstinstallatie/tentoonstelling. </span></span></p>
<p style="-webkit-text-stroke-color: rgb(0, 0, 0); -webkit-text-stroke-width: initial; background-color: #fefefe; font-stretch: normal; line-height: normal; margin: 0px; min-height: 13px; text-align: justify;"><span style="font-family: helvetica; font-size: x-small;"><span style="font-kerning: none;"></span><br /></span></p>
<p style="-webkit-text-stroke-color: rgb(0, 0, 0); -webkit-text-stroke-width: initial; background-color: #fefefe; font-stretch: normal; line-height: normal; margin: 0px; text-align: justify;"><span style="font-kerning: none;"><span style="font-family: helvetica; font-size: x-small;">Deze ontmoetingen met regionale collectioneurs leverden verhalen op die zich vanuit een eerder (klein)menselijke toon kunnen spiegelen aan de grootse excessen van de freeports, afgescheiden belastingvrije zones in de luchthavens van Genève of Singapore waar dure kunstwerken worden vastgehouden en verhandeld zonder zelfs uit hun kisten genomen of verplaatst te worden. Deze freeports evoceren een efemere onzichtbaarheid in combinatie met het oproepen van waarde louter als een speculatief en op eindeloze accumulatie gericht volume. Een beeld dat op zichzelf reeds de strenge contouren van een conceptueel kunstwerk aanneemt: het verzamelen van kunst als kapitalistische buitensporigheid par excellence.</span></span></p>
<p style="-webkit-text-stroke-color: rgb(0, 0, 0); -webkit-text-stroke-width: initial; background-color: #fefefe; font-stretch: normal; line-height: normal; margin: 0px; min-height: 13px; text-align: justify;"><span style="font-family: helvetica; font-size: x-small;"><span style="font-kerning: none;"></span><br /></span></p>
<p style="-webkit-text-stroke-color: rgb(0, 0, 0); -webkit-text-stroke-width: initial; background-color: #fefefe; font-stretch: normal; line-height: normal; margin: 0px; text-align: justify;"><span style="font-kerning: none;"><span style="font-family: helvetica; font-size: x-small;">Persoonlijke ervaringen die hiermee in verband gebracht kunnen worden, betreffen mijn ontmoeting met een oudere Gentse kunstenaar die in de vroege jaren zeventig een klein rond houten staafje van André Cadere kocht, gestimuleerd als hij was door het gevoel ergens bij te horen, ergens deel van uit te maken omdat hij er de gelijkenissen met zijn eigen werk in herkende. Enkele jaren geleden verkocht hij het staafje en met het geld bouwde hij een atelier en schafte hij zich een nieuwe wagen aan. Ook sprak ik met een vrouw die in diezelfde jaren zeventig samen met haar man een galerie voor hedendaagse kunst runde in Gent en vandaag in een sociale woning woont. Recentelijk bracht ze een ensemble van houten Cadere staafjes op een veiling in Lokeren. Het was een van de werken die ze naast andere in haar bezit had; een erfenis van haar vroegere leven als galeriste. De verkoop bracht haar 800.000 euro op. Een Gentse drankenhandelaar in het bezit van werken van Bruce Nauman en Robert Ryman wiens koopgedrag sterk beïnvloed was door de adviezen van wijlen Jan Hoet, zegde zijn verzameling nooit publiek te willen stellen. De reden hiervoor leek verband te houden met sterke frustraties omdat hij als collectioneur niet op dezelfde lijn genoemd wordt met enkele meer gerenommeerde collega’s; collega’s wiens collectie al eens op uitnodiging in musea terecht komt. Hij put voldoening uit het verzamelen an sich en hij gaat er prat op dat hij de werken meestal zelfs niet uit de verpakking haalt. De werken van de drankenhandelaar slijten een leven in bubbelfolie, in rijen gestald tegen de muur van zijn woonkamer. Of tot slot de wereldvreemde racistische kunstverzamelaar die twee zwarte mannen (die hij met het n* woord benoemde) liet oprukken om een werk van de politiek geëngageerde, linkse kunstenares Rossella Biscotti, naar de eerste verdieping van zijn villa te dragen. Het ging om een loodzware betonblok waarvan het volume iets te maken had met een neergehaald standbeeld van de communistische leider Vladimir Lenin. De troosteloze discrepantie tussen verzamelde kunstwerken met specifieke gevoeligheden en de geleefde waarden van de verzamelaar, competitiedrang, kunst als religieuze fetisj, kunst als pure accumulatie van ruilwaarde… Alle stereotypen kunnen netjes aangevinkt worden. </span></span></p>
<p style="-webkit-text-stroke-color: rgb(0, 0, 0); -webkit-text-stroke-width: initial; background-color: #fefefe; font-stretch: normal; line-height: normal; margin: 0px; min-height: 13px; text-align: justify;"><span style="font-family: helvetica; font-size: x-small;"><span style="font-kerning: none;"></span><br /></span></p>
<p style="-webkit-text-stroke-color: rgb(0, 0, 0); -webkit-text-stroke-width: initial; background-color: #fefefe; font-stretch: normal; line-height: normal; margin: 0px; text-align: justify;"><span style="font-kerning: none;"><span style="font-family: helvetica; font-size: x-small;">Maar men laat zich niet infecteren om te weten te komen wat men eigenlijk al lang weet. En vooral wil ik me niet blindstaren op uitwassen die evengoed in andere maatschappelijke geledingen terug te vinden zijn. Wat er voor mij veel eerder toe doet is de ervaring van hoe het verzamelen van kunst omgekeerd verstrengeld is met de heersende logica van de kunst zelf, of met andere woorden met hoe we naar kunst kijken en hoe we deze percipiëren. In die zin vormde de tentoonstelling in het najaar van 2000 in <i>de Witte zaal</i>—de toenmalige expo-ruimte van de Sint-Lucas academie Gent—van de kunstenaars Mario De Brabandere en Bart Baele, waarin ze een selectie uit hun collectie naïeve schilderwerken toonden, een interessante casus. Deze casus is interessant omdat de positie van toeschouwer, kunstenaar en verzamelaar hier naadloos in elkaar vasthaken. Wat geëxposeerd werd, betrof dikwijls anonieme werkjes gekocht op rommelmarkten of gevonden bij het afval. In het verlengde van hun eigen schilderspraktijk, bekeken en beoordeelden ze gedurende jaren de schilderijtjes die ze er tegenkwamen en beslisten wat waard was opgeraapt en bijgehouden te worden. Ze selecteerden de werkjes -die daardoor gered werden van hun ondergang- met grote zorg en aandacht vanwege hun ongekunstelde schilderkundige kwaliteiten. Het verzamelen bevat hiermee een kwaliteit van het op afstand plaatsen, her-contextualiseren en het tot stand brengen van nieuwe relaties wat andere zichtbaarheden teweeg kan brengen. </span></span></p>
<p style="-webkit-text-stroke-color: rgb(0, 0, 0); -webkit-text-stroke-width: initial; background-color: #fefefe; font-stretch: normal; line-height: normal; margin: 0px; min-height: 13px; text-align: justify;"><span style="font-family: helvetica; font-size: x-small;"><span style="font-kerning: none;"></span><br /></span></p>
<p style="-webkit-text-stroke-color: rgb(0, 0, 0); -webkit-text-stroke-width: initial; background-color: #fefefe; font-stretch: normal; line-height: normal; margin: 0px; text-align: justify;"><span style="font-kerning: none;"><span style="font-family: helvetica; font-size: x-small;">Maar deze eigenschap van het verzamelen moet ook met macht in verband gebracht worden. De verzamelaar schrijft een eigen verhaal dat altijd ook betrekking heeft op diens subjectiviteit. Het onvermijdelijke lot van ieder kunstwerk in gelijk welke verzameling is daarom dat het enerzijds gered wordt van de vergetelheid maar anderzijds gebruikt om betekenis te geven aan het geheel van de specifieke collectie waarin het opgenomen wordt. Wanneer het louter binnen het geheel van de collectie gezien wordt, is het werk (maar ook de auteur van het werk) steeds, onderhevig aan reductie; namelijk de reductie ingegeven door het beeld of de ruimte die de verzamelaar als auteur oproept of uitzet. Vandaar dat achter de eigenheid van die zeldzame scherpe kunstcollectie een verzamelaar schuilt die maar moeilijk van de kunstenaar te onderscheiden valt. Vanuit dit subjectieve standpunt is de verzamelaar iemand die de vrijheid neemt om met kunst een (mentale) ruimte af te bakenen. Iedere verzameling is dan ook het resultaat van een poging om een deel van de publieke ruimte van de kunst te bezetten door er diens eigen wetten en geschiedenis te vestigen. Dat deze verzameling privaat is en niet publiek doet er weinig toe omdat de globale kunstruimte vandaag deze grenzen overschrijdt.</span></span></p>
<p style="-webkit-text-stroke-color: rgb(0, 0, 0); -webkit-text-stroke-width: initial; background-color: #fefefe; font-stretch: normal; line-height: normal; margin: 0px; min-height: 13px; text-align: justify;"><span style="font-family: helvetica; font-size: x-small;"><span style="font-kerning: none;"></span><br /></span></p>
<p style="-webkit-text-stroke-color: rgb(0, 0, 0); -webkit-text-stroke-width: initial; background-color: #fefefe; font-stretch: normal; line-height: normal; margin: 0px; text-align: justify;"><span style="font-kerning: none;"><span style="font-family: helvetica; font-size: x-small;">Natuurlijk kan de verzamelaar die macht op vele manieren gebruiken, maar binnen de logica van de markt die de kunst haar relatieve vrijheid verschaft—nu deze niet meer afhankelijk is van kerk of opdrachtgever—speelt bezit (en het afbakenen van) een grote rol. Het beeld van de verzamelaar overtreft daarmee dat van de oude mythe van de kunstenaar als klein burgerlijke dictator, degene die zich onderscheidt van de massa door in autonome vrijheid te handelen, ruimte af te bakenen om zo de eigen identiteit vorm te geven. Een rol die trouwens ook de toeschouwer niet vreemd is wanneer die zich een tentoonstelling meester probeert te maken, haar weerbarstige meervoudigheid van betekenissen tracht te temmen, een verdict uitspreekt en waarde toekent. In de kunstverzameling wordt deze dynamiek van soevereine toe-eigening echter in zijn meest expliciete vorm materieel zichtbaar gemaakt en ten top gedreven. Maar deze dynamiek weerspiegelt dus slechts een wetmatigheid die, of zo je wil een esthetisch principe, dat deel uitmaakt van de algemene perceptie van en omgang met kunst. </span></span></p>
<p style="-webkit-text-stroke-color: rgb(0, 0, 0); -webkit-text-stroke-width: initial; background-color: #fefefe; font-stretch: normal; line-height: normal; margin: 0px; min-height: 13px; text-align: justify;"><span style="font-family: helvetica; font-size: x-small;"><span style="font-kerning: none;"></span><br /></span></p>
<p style="-webkit-text-stroke-color: rgb(0, 0, 0); -webkit-text-stroke-width: initial; background-color: #fefefe; font-stretch: normal; line-height: normal; margin: 0px; text-align: justify;"><span style="font-kerning: none;"><span style="font-family: helvetica; font-size: x-small;">Wat hier onderliggend resoneert is het idee van soevereiniteit dat een verlangen impliceert naar coherentie, identiteit en heelheid (wat historisch terug te voeren is op een subject dat wit, man en burger is). Het is een streven dat berust op constructies van authenticiteit die tot op heden het idee voeden dat de mens zichzelf en zijn leven vrij, autonoom en volgens zijn eigen besluiten kan of moet vormgeven. Eigen aan de soevereine macht is dat deze steeds ten koste gaat van een buiten dat uitgesloten wordt en vooral dat het een handelen in immuniteit voorstaat dat de kwetsbaarheid van het leven tracht te overwinnen in plaats van deze kwetsbaarheid als inherent eraan te beschouwen. </span></span></p>
<p style="-webkit-text-stroke-color: rgb(0, 0, 0); -webkit-text-stroke-width: initial; background-color: #fefefe; font-stretch: normal; line-height: normal; margin: 0px; min-height: 13px; text-align: justify;"><span style="font-family: helvetica; font-size: x-small;"><span style="font-kerning: none;"></span><br /></span></p>
<p style="-webkit-text-stroke-color: rgb(0, 0, 0); -webkit-text-stroke-width: initial; background-color: #fefefe; font-stretch: normal; line-height: normal; margin: 0px; text-align: justify;"><span style="font-kerning: none;"><span style="font-family: helvetica; font-size: x-small;">Het infecteren van een particuliere verzameling kan dan een manier zijn om deze precair te maken met de bedoeling mechanismes van klein burgerlijke soevereiniteit te doorbreken. Een voorbeeld van een beweging in die richting is de wijze waarop de uiteindelijke installatie ‘Curating is Writing the Future, A Portret’, via een zorg-contract in plaats van een contract van eigendom een plaats kreeg in de verzameling van Olivier Gevart, de verzamelaar waarmee ik samenwerkte. Het werk blijft eeuwig onverkoopbaar en kan enkel via bepaalde zorg-voorwaarden aan iemand anders overgedragen worden. De onafhankelijkheid van het toe-eigenen wordt vervangen door de afhankelijkheid van het <i>zorg-dragen voor</i>, wat bij uitstek een relationele handeling is.</span></span></p>
<p style="-webkit-text-stroke-color: rgb(0, 0, 0); -webkit-text-stroke-width: initial; background-color: #fefefe; font-stretch: normal; line-height: normal; margin: 0px; min-height: 13px; text-align: justify;"><span style="font-family: helvetica; font-size: x-small;"><span style="font-kerning: none;"></span><br /></span></p>
<p style="-webkit-text-stroke-color: rgb(0, 0, 0); -webkit-text-stroke-width: initial; background-color: #fefefe; font-stretch: normal; line-height: normal; margin: 0px; text-align: justify;"><span style="font-kerning: none;"><span style="font-family: helvetica; font-size: x-small;">Tot slot kunnen we ons ook afvragen hoe dergelijke infecties zich verhouden tot het verzamelen als een dominant overkoepelend organisatiesysteem en hoe we dit systeem van nieuwe verbeeldingen kunnen voorzien. Want meer dan als de losse som van particuliere verzamelingen speelt het verzamelen voor de kunst ook een structurerende rol. De heersende dynamiek van het verzamelen bepaalt in grote mate wat kunst is en wat niet door in een nooit aflatende beweging steeds opnieuw vernieuwende kunstwerken op te nemen in wat men de 'globale kunstverzameling’ zou kunnen noemen. Dit betekent daarom nog niet dat die verzameling enkel de bijeengebrachte kunstwerken in (de depots van) belangrijke musea bevat. Evengoed kan deze verzamellogica in verband gebracht worden met een hybride dynamiek die alle mentale hiërarchische ordeningen van kunstwerken samenbrengt die in evenzovele hoofden van wereldwijd verspreide kunstwerkers en -liefhebbers leeft. En daarbij moet ook het nieuwe dat opgenomen wordt in de verzameling niet louter in negatieve zin afgedaan worden als een modieuze tendens. In tegendeel beslaat het in haar meest modern politieke perceptie net het verstotene dat tot nu toe ongezien bleef en daarom slechts nieuw <i>lijkt</i>. Het precaire speelt binnen dit door de verzameling gestructureerde denkbeeld dus wel degelijk een belangrijk rol voor de hedendaagse kunstruimte. Desalniettemin verschijnt dit precaire hier tegelijk slechts binnen een ‘gesloten politiek systeem’ dat eerder als een universele horizon voor de kunst functioneert. Een systeem dat een kosmische afspiegeling schijnt te vormen van het begrip democratie in die zin dat wat nog geen deel uitmaakt van de globale verzameling eraan deelachtig gemaakt wordt om zo de publieke, maar tegelijk ook louter symbolische ruimte van de kunst te betreden. </span></span></p>
<p style="-webkit-text-stroke-color: rgb(0, 0, 0); -webkit-text-stroke-width: initial; background-color: #fefefe; font-stretch: normal; line-height: normal; margin: 0px; min-height: 13px; text-align: justify;"><span style="font-family: helvetica; font-size: x-small;"><span style="font-kerning: none;"></span><br /></span></p>
<p style="-webkit-text-stroke-color: rgb(0, 0, 0); -webkit-text-stroke-width: initial; background-color: #fefefe; font-stretch: normal; line-height: normal; margin: 0px; text-align: justify;"><span style="font-kerning: none;"><span style="font-family: helvetica; font-size: x-small;">Het is op dit punt dat misschien wel de meest radicale vragen omtrent het verzamelen aan de orde zijn. Welke andere voorstellingen kunnen bijvoorbeeld deze lineaire beweging -die zich steeds op het nieuwe richt binnen een universele fantasie- bijsturen zodat kwetsbaarheid en precariteit eigen worden aan de structuur van het verzamelen zelf als organiserend principe van de kunst? Verreikende verbeeldingen zullen nodig zijn omdat onze verlangens (als kunstwerker) nog steeds sterk meebepaald worden door de heersende verzamellogica. Want ook degenen, die pretenderen het systeem en de waarden van de kunst ingrijpend te veranderen, zijn zeker niet ongevoelig voor de drang om als vernieuwend kunstenaar vereeuwigd te worden (en dus ‘heel’ te worden) in de verzameling.</span></span></p>
<p style="-webkit-text-stroke-color: rgb(0, 0, 0); -webkit-text-stroke-width: initial; background-color: #fefefe; font-stretch: normal; line-height: normal; margin: 0px; min-height: 13px; text-align: justify;"><span style="font-family: helvetica; font-size: x-small;"><span style="font-kerning: none;"></span><br /></span></p>
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<p style="-webkit-text-stroke-color: rgb(0, 0, 0); -webkit-text-stroke-width: initial; background-color: #fefefe; font-stretch: normal; line-height: normal; margin: 0px; min-height: 13px; text-align: justify;"><span style="font-family: helvetica; font-size: x-small;"><span style="font-kerning: none;"></span><br /></span></p>
<p style="-webkit-text-stroke-color: rgb(0, 0, 0); -webkit-text-stroke-width: initial; background-color: #fefefe; font-stretch: normal; line-height: normal; margin: 0px; min-height: 13px; text-align: justify;"><span style="font-family: helvetica; font-size: x-small;"><span style="font-kerning: none;"></span><br /></span></p>
<p style="-webkit-text-stroke-color: rgb(0, 0, 0); -webkit-text-stroke-width: initial; background-color: #fefefe; font-stretch: normal; line-height: normal; margin: 0px; text-align: justify;"><span style="font-kerning: none;"><span style="font-family: helvetica; font-size: x-small;">(In grote concentraties hangen de kunstwerken aan de witte wanden van de kunsthal wachtend op een leven binnen een verzameling. Het geheel lijkt geenszins kosmisch. Daarvoor zijn de werken te sterk onderhevig aan de zwaartekracht en heeft het geheel een te vertrouwde menselijke schaal. Men kan verder trouwens ook opmerken dat ook het oude er naast het nieuwe zeer goed vertegenwoordigd is. Misschien vormt deze disharmonische, conflictueuze vertoning een rijke associatieve achtergrond die uitnodigt om bovenstaande bedenkingen tegen het licht te houden.)</span></span></p>
<p style="-webkit-text-stroke-color: rgb(0, 0, 0); -webkit-text-stroke-width: initial; background-color: #fefefe; font-stretch: normal; line-height: normal; margin: 0px; min-height: 13px; text-align: justify;"><span style="font-family: helvetica; font-size: x-small;"><span style="font-kerning: none;"></span><br /></span></p><p style="-webkit-text-stroke-color: rgb(0, 0, 0); -webkit-text-stroke-width: initial; background-color: #fefefe; font-stretch: normal; line-height: normal; margin: 0px; min-height: 13px; text-align: justify;"><span style="font-family: helvetica; font-size: x-small;"><br /></span></p><p style="-webkit-text-stroke-color: rgb(0, 0, 0); -webkit-text-stroke-width: initial; font-stretch: normal; line-height: normal; margin: 0px;"><span style="font-family: helvetica; font-size: x-small;"><span style="-webkit-font-kerning: none; background-color: #fefefe; font-stretch: normal; line-height: normal;"><sup>1</sup></span><span style="font-kerning: none;"> Marcel Broodthaers aan het woord, Ludion, 1998, p.39</span></span></p><p style="-webkit-text-stroke-color: rgb(0, 0, 0); -webkit-text-stroke-width: initial; font-stretch: normal; line-height: normal; margin: 0px;"><span style="font-family: helvetica; font-size: x-small;"><span style="-webkit-font-kerning: none; background-color: #fefefe; font-stretch: normal; line-height: normal;"><sup>2</sup></span><span style="font-kerning: none;"> Education by infection, Boris Groys, uit Art School (propositions for the 21st century), Edited by Steven Henry Madoff, the MIT Press, 2009, p.26-32</span></span></p><p style="-webkit-text-stroke-color: rgb(0, 0, 0); -webkit-text-stroke-width: initial; font-stretch: normal; line-height: normal; margin: 0px;"><span style="font-family: helvetica; font-size: x-small;"><span style="-webkit-font-kerning: none; background-color: #fefefe; font-stretch: normal; line-height: normal;"><sup>3</sup></span><span style="font-kerning: none;"> zie bijvoorbeeld Hito Steyerl, “Duty Free Art”, e-flux journal, 2016, no.63</span></span></p><p style="-webkit-text-stroke-color: rgb(0, 0, 0); -webkit-text-stroke-width: initial; font-stretch: normal; line-height: normal; margin: 0px;"><span style="font-family: helvetica; font-size: x-small;"><span style="-webkit-font-kerning: none; background-color: #fefefe; font-stretch: normal; line-height: normal;"><sup>4</sup></span><span style="font-kerning: none;"> zie cataloog, over FORK gallery, Mario De Brabandere en Bart Baele, (c) Witte Zaal </span></span></p><p style="-webkit-text-stroke-color: rgb(0, 0, 0); -webkit-text-stroke-width: initial; font-stretch: normal; line-height: normal; margin: 0px;"><span style="font-family: helvetica; font-size: x-small;"><span style="-webkit-font-kerning: none; background-color: #fefefe; font-stretch: normal; line-height: normal;"><sup>5</sup></span><span style="font-kerning: none;"> zie de vergelijking met de installatie kunstenaar, Boris Groys, “Politics of Installation,” E Flux Journal, no.2 (January 2009)</span></span></p><p style="-webkit-text-stroke-color: rgb(0, 0, 0); -webkit-text-stroke-width: initial; font-stretch: normal; line-height: normal; margin: 0px;"><span style="font-family: helvetica; font-size: x-small;"><span style="-webkit-font-kerning: none; background-color: #fefefe; font-stretch: normal; line-height: normal;"><sup>6</sup></span><span style="font-kerning: none;"> Hito Steyerl. Is a Museum a Factory, Beyond Representation. Essays 1999-2009, nbk, 2016</span></span></p><p style="-webkit-text-stroke-color: rgb(0, 0, 0); -webkit-text-stroke-width: initial; font-stretch: normal; line-height: normal; margin: 0px;"><span style="font-family: helvetica; font-size: x-small;"><span style="-webkit-font-kerning: none; background-color: #fefefe; font-stretch: normal; line-height: normal;"><sup>7</sup></span><span style="font-kerning: none;"> zie ‘Het regeren van precairen, de staat van onzekerheid’, Isabell Lorey, Ocatvo publications, 2016</span></span></p><p style="-webkit-text-stroke-color: rgb(0, 0, 0); -webkit-text-stroke-width: initial; font-stretch: normal; line-height: normal; margin: 0px;"><span style="font-family: helvetica; font-size: x-small;"><span style="-webkit-font-kerning: none; background-color: #fefefe; font-stretch: normal; line-height: normal;"><sup>8</sup></span><span style="-webkit-font-kerning: none;">Logica van de verzameling, Boris Groys, Octavo Amsterdam, 2013</span></span></p>
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<p style="-webkit-text-stroke-color: rgb(0, 0, 0); -webkit-text-stroke-width: initial; background-color: #fefefe; font-family: Helvetica; font-size: 11px; font-stretch: normal; line-height: normal; margin: 0px; min-height: 13px; text-align: justify;"><span style="font-kerning: none;"></span><br /></p><p style="-webkit-text-stroke-color: rgb(0, 0, 0); -webkit-text-stroke-width: initial; background-color: #fefefe; font-family: Helvetica; font-size: 11px; font-stretch: normal; line-height: normal; margin: 0px; min-height: 13px; text-align: justify;"><br /></p><p style="background-color: #fefefe; font-stretch: normal; line-height: normal; margin: 0px; min-height: 13px; text-align: justify;"><span style="color: #cc0000; font-size: x-small;"><span style="-webkit-font-kerning: none;"><span style="font-family: helvetica;"><span style="-webkit-text-stroke-color: rgb(0, 0, 0); -webkit-text-stroke-width: initial;">essay </span><span style="-webkit-text-stroke-color: rgb(0, 0, 0);">English</span><span style="-webkit-text-stroke-color: rgb(0, 0, 0); -webkit-text-stroke-width: initial;">/</span></span></span><span style="-webkit-text-stroke-color: rgb(0, 0, 0); -webkit-text-stroke-width: initial; background-color: transparent; caret-color: rgb(102, 102, 102); font-family: helvetica; text-align: left;">written for </span><i style="-webkit-text-stroke-color: rgb(0, 0, 0); -webkit-text-stroke-width: initial; background-color: transparent; caret-color: rgb(102, 102, 102); font-family: helvetica; text-align: left;">'tears of the art market' kunsthal Ghent (07-2020)</i></span></p><p style="-webkit-text-stroke-color: rgb(0, 0, 0); -webkit-text-stroke-width: initial; background-color: #fefefe; font-family: Helvetica; font-stretch: normal; line-height: normal; margin: 0px; min-height: 13px; text-align: justify;"><span style="font-size: x-small;"><br /></span></p><p style="-webkit-text-stroke-color: rgb(0, 0, 0); -webkit-text-stroke-width: initial; background-color: #fefefe; font-family: Helvetica; font-stretch: normal; line-height: normal; margin: 0px; min-height: 13px; text-align: justify;"><span style="font-size: x-small;"><br /></span></p>
<p style="font-stretch: normal; line-height: normal; margin: 0px;"><span style="-webkit-font-kerning: none;"><span style="font-family: helvetica; font-size: x-small;">"I, too, wondered whether I couldn't sell something and succeed in life" is on the invitation card of Marcel Broodthaers' first exhibition. By that time he was already forty years old and had worked in various professions, from journalist, book dealer, museum guide to photographer, but had also written poetry since he was a student. Of the four poetry books he wrote, he could only sell a few copies to some friends and acquaintances. "In the end", he continues, "I came up with the idea of inventing something insincere and I immediately set to work". What followed is known: Broodthaers became one of the most important visual artists of the twentieth century. </span></span></p><p style="font-stretch: normal; line-height: normal; margin: 0px; min-height: 13px;"><span style="font-family: helvetica; font-size: x-small;"><span style="font-kerning: none;"></span><br /></span></p><p style="font-stretch: normal; line-height: normal; margin: 0px;"><span style="font-kerning: none;"><span style="font-family: helvetica; font-size: x-small;">Broodthaers became an artist in his attempt to become 'insincere'. In doing so, he radically broke with the persistent myth of modernism-that was and still is quite influential. The myth says that real art should be the expression of the artist's true identity, or at least of the deconstruction of that identity. It is an idea in which avant-garde art is seen as an authentic creation. Authentic in the sense that one should draw on the life that is within the artist and therefore should stay far away from all kinds of impure intruders such as ideological and political agendas, as well as from, for example, the economic market logic of art. </span></span></p><p style="font-stretch: normal; line-height: normal; margin: 0px; min-height: 13px;"><span style="font-family: helvetica; font-size: x-small;"><span style="font-kerning: none;"></span><br /></span></p><p style="font-stretch: normal; line-height: normal; margin: 0px;"><span style="font-kerning: none;"><span style="font-family: helvetica; font-size: x-small;">In his text 'education by infection', Boris Groys connects the insincerity that Broodthaers unashamedly expresses with contemporary art education. He describes how critical theory as well as market and network dynamics find easy access among art students today. The academy walls that traditionally isolate the student from the outside world have little influence on this. The text poses the question of how they should deal with this. On the one hand, students could try to overcome or ignore this multitude of critical information and influences from the outside by positioning themselves in a top or outside position. On the other hand, as a logical consequence of this critical theory, they could decide to try to heal the world and consequently leave art for what it is. For Groys, however, both solutions betray the modern project of art that consists precisely in being 'insincere', in living through being infected. Infected not only by what manifests itself as both human (the 'good') and inhuman (the 'bad').</span></span></p><p style="font-stretch: normal; line-height: normal; margin: 0px; min-height: 13px;"><span style="font-family: helvetica; font-size: x-small;"><span style="font-kerning: none;"></span><br /></span></p><p style="font-stretch: normal; line-height: normal; margin: 0px;"><span style="font-family: helvetica; font-size: x-small;"><span style="font-kerning: none;">Being infected, after all, mainly implies revealing </span><span style="background-color: white; font-kerning: none;">the Other</span><span style="font-kerning: none;"> within oneself, to become Other, to become infected by Otherness. Not to assimilate with the alien but, on the contrary, to penetrate into the alien and above all to become alien to one's own tradition (including that of art itself). Much further than as a concept of tolerance, this alienation through the infection manifests itself as an inner solidarity with the other, with the alien; even with the one that is deceptive and gruesome. Infected by a political or social agenda, as well as by economic and market-related dynamics, the art student/artist inevitably undergoes the different stages of bacilli entering a system: shock to the system, weakness, resistance, adaptation and renewal, according to Boris Groys.</span></span></p><p style="font-stretch: normal; line-height: normal; margin: 0px; min-height: 13px;"><span style="font-family: helvetica; font-size: x-small;"><span style="font-kerning: none;"></span><br /></span></p><p style="font-stretch: normal; line-height: normal; margin: 0px;"><span style="font-kerning: none;"><span style="font-family: helvetica; font-size: x-small;">It is in that sense that I in retrospect allowed the art collector as a stranger within myself. As a beginning artist I felt a temptation to start a small art collection and even though that fascination later turned into its opposite-what meant to consciously not collecting art- since then there has been a thin thread running through my art practice in which ‘the art collector as a figure’ and ‘collecting art’ constitute a motif. It was only years after my short and until further notice hesitant collecting activity that I undertook my first explicit act in this respect. I travelled by train from Ghent to Antwerp with a painting from my small collection under my arm, a work by the Ghent painter Armand Vanderlick, who died in 1985, which I had bought for a good price from his son whom I had interviewed as part of my graduation thesis at Sint-Lucas. When I arrived in Antwerp, I spent an hour hanging around the station before taking the train back. The performance was part of an art project in which only a few insiders or informed spectators observed the event as a work of art. </span></span></p><p style="font-stretch: normal; line-height: normal; margin: 0px; min-height: 13px;"><span style="font-family: helvetica; font-size: x-small;"><span style="font-kerning: none;"></span><br /></span></p><p style="font-stretch: normal; line-height: normal; margin: 0px;"><span style="font-kerning: none;"><span style="font-family: helvetica; font-size: x-small;">So it wasn't without first literally having brought in play the collector in myself that I later decided to involve other collectors and their collecting activity in my work. This mainly happened in three projects: (1) 'Liège Guillemins', in which I encouraged a group of art collectors who financially support the platform for contemporary art Emergent in Veurne. I asked them to repeat the act I did myself in Antwerp but then in the station of Liège and with a favourite work from their own collection; (2) 'Van Dorpe, Cottin, Cadere' (Building an Art Community) in which works of art by André Cadere (bars of round coloured wooden blocks) owned by Belgian art collectors whom I went to visit for the project were converted into fly curtains for the front doors of residents of the Watervlietstraat in the Rabot neighbourhood; and (3) 'Curating is Writing the Future, A Portrait' in which the conversation with Olivier Gevart, art collector and initiator of the non-profit art space Eté 78 was the central starting point to the development of an art installation/exhibition. </span></span></p><p style="font-stretch: normal; line-height: normal; margin: 0px; min-height: 13px;"><span style="font-family: helvetica; font-size: x-small;"><span style="font-kerning: none;"></span><br /></span></p><p style="font-stretch: normal; line-height: normal; margin: 0px;"><span style="font-kerning: none;"><span style="font-family: helvetica; font-size: x-small;">These encounters with regional collectors yielded stories that, from a rather (small) human perspective, can be mirrored in the grand excesses of the freeports, separate tax-free zones in the airports of Geneva or Singapore where expensive works of art are held and traded without even being taken out of their crates or moved. These freeports evoke an ephemeral invisibility combined with the evocation of value purely as a speculative and endless accumulation. An image that in itself assumes the strict contours of a conceptual work of art: the collection of art as capitalist excess par excellence.</span></span></p><p style="font-stretch: normal; line-height: normal; margin: 0px; min-height: 13px;"><span style="font-family: helvetica; font-size: x-small;"><span style="font-kerning: none;"></span><br /></span></p><p style="font-stretch: normal; line-height: normal; margin: 0px;"><span style="font-kerning: none;"><span style="font-family: helvetica; font-size: x-small;">Personal experiences that can be related to this concern my meeting with an older artist from Ghent who bought a small round wooden bar from André Cadere in the early seventies, stimulated as he was by the feeling of belonging, of being part of something because he recognized the similarities with his own work in it. A few years ago he sold the stick and with the money he rebuilt his artist studio and bought himself a new car. I also spoke to a woman who in the same seventies ran a contemporary art gallery with her husband in Ghent and today lives in a social housing project. Recently she brought an ensemble of wooden Cadere sticks to an auction in Lokeren. It was one of the works she owned among others; a legacy of her former life as a gallerist. The sale brought her 800,000 euros. A Ghent drinks merchant in possession of works by Bruce Nauman and Robert Ryman, whose purchasing behaviour was strongly influenced by the advice of the late Jan Hoet, said he never wanted to make his collection public. The reason for this seemed to be related to strong frustrations because as a collector he is not mentioned in the same way as some more renowned colleagues; colleagues whose collection has already ended up in museums by invitation. He derives satisfaction from collecting in itself and he prides himself on the fact that he usually does not even take the works out of the packaging. The works of the drinks dealer wear out a life in bubble wrap, stored in rows against the wall of his living room. Or, finally, the unworldly racist art collector who brought in two black men (whom he named with the n* word) to carry a work by the politically committed left-wing artist Rossella Biscotti to the first floor of his villa. It was a heavy concrete block of which the volume had something to do with a downed statue of the communist leader Vladimir Lenin. The desolate discrepancy between collected works of art with specific sensitivities and the lived values of the collector, competitiveness, art as a (religious) fetish, art as a pure accumulation of exchange value... All stereotypes can be ticked neatly. </span></span></p><p style="font-stretch: normal; line-height: normal; margin: 0px; min-height: 13px;"><span style="font-family: helvetica; font-size: x-small;"><span style="font-kerning: none;"></span><br /></span></p><p style="font-stretch: normal; line-height: normal; margin: 0px;"><span style="font-kerning: none;"><span style="font-family: helvetica; font-size: x-small;">But one does not allow oneself to be infected in order to find out what one has actually known for a long time. And above all, I don't want to focus on excesses that are just as easily found in other sections of society. What matters to me much more is the experience of how collecting art is inversely intertwined with the prevailing logic of art itself, or in other words with how we look at art and how we perceive it. In this sense, the exhibition in the autumn of 2000 in the Witte zaal (the then exhibition space of the Sint-Lucas Academie Ghent) of the artists Mario De Brabandere and Bart Baele, in which they showed a selection from their collection of naive paintings, was an interesting case study. This case is interesting because the position of the viewer, artist and collector are seamlessly linked here. What was exhibited involved often anonymous works bought at flea markets or found in the garbage. In line with their own painting practice, for years they looked at and assessed the paintings they came across and decided what was worth picking up and collecting. They selected the works - which were thereby saved from their downfall - with great care and attention because of their non-artificial painterly qualities. Collecting thus contains a quality of placing at a distance, re-contextualizing and creating new relationships that can bring about other visions/visibilities. </span></span></p><p style="font-stretch: normal; line-height: normal; margin: 0px; min-height: 13px;"><span style="font-family: helvetica; font-size: x-small;"><span style="font-kerning: none;"></span><br /></span></p><p style="font-stretch: normal; line-height: normal; margin: 0px;"><span style="font-kerning: none;"><span style="font-family: helvetica; font-size: x-small;">But this characteristic of collecting must also be associated with power. The collector writes his own story that always relates to his subjectivity. The inevitable fate of every work of art in any collection is therefore that on the one hand it is saved from oblivion but on the other hand it is used to give meaning to the whole of the specific collection in which it is included. When seen purely within the totality of the collection, the work (but also the author of the work) is always subject to reduction; namely the reduction prompted by the image or the space that the collector as author evokes or expands. That is why behind the uniqueness of this rare sharp art collection lies a collector who is difficult to distinguish from the artist. From this subjective point of view, the collector is someone who takes the freedom to use art to demarcate a (mental) space. Each collection is therefore the result of an attempt to occupy part of the public space of art by establishing its own laws and history. The fact that this collection is private and not public matters little because the global art space today exceeds these boundaries.</span></span></p><p style="font-stretch: normal; line-height: normal; margin: 0px; min-height: 13px;"><span style="font-family: helvetica; font-size: x-small;"><span style="font-kerning: none;"></span><br /></span></p><p style="font-stretch: normal; line-height: normal; margin: 0px;"><span style="font-kerning: none;"><span style="font-family: helvetica; font-size: x-small;">Of course the collector can use that power in many ways, but within the logic of the market that gives art its relative freedom (now that it is no longer dependent on church or commissioner) possession (or demarcating) plays a major role. The image of the collector thus surpasses that of the old myth of the artist as a petty-bourgeois dictator, the one who distinguishes himself from the masses by acting in autonomous freedom, demarcating space in order to shape his own identity. A role that is also familiar to the viewer when he tries to master an exhibition, tries to tame its unruly plurality of meanings, pronounces a verdict and assigns value. In the art collection, however, this dynamic of sovereign appropriation is made materially visible in its most explicit form and driven to the top. But this dynamic thus reflects only a state of affairs or if you like an aesthetic principle that is part of the general perception of and handling of art. </span></span></p><p style="font-stretch: normal; line-height: normal; margin: 0px; min-height: 13px;"><span style="font-family: helvetica; font-size: x-small;"><span style="font-kerning: none;"></span><br /></span></p><p style="font-stretch: normal; line-height: normal; margin: 0px;"><span style="font-kerning: none;"><span style="font-family: helvetica; font-size: x-small;">What resonates here is the idea of sovereignty that implies a desire for coherence, identity and wholeness (which historically can be traced back to a subject who is white, man and citizen). It is an aspiration based on constructions of authenticity that up until now have nourished the idea that man can or should shape themselves and their life freely, autonomously and according to their own decisions. It is inherent to the sovereign power that it is always at the expense of an outside that is excluded, and above all that it advocates an act of immunity that seeks to overcome the fragility of life rather than seeing this fragility as inherent to it. </span></span></p><p style="font-stretch: normal; line-height: normal; margin: 0px; min-height: 13px;"><span style="font-family: helvetica; font-size: x-small;"><span style="font-kerning: none;"></span><br /></span></p><p style="font-stretch: normal; line-height: normal; margin: 0px;"><span style="font-kerning: none;"><span style="font-family: helvetica; font-size: x-small;">Infecting a private collection can then be a way to make it precarious with the intention of breaking mechanisms of petty-bourgeois sovereignty. An example of a movement in that direction is the way in which the final installation 'Curating is Writing the Future, A Portrait', through a care contract instead of a contract of ownership, was given a place in the collection of Olivier Gevart, the collector with whom I collaborated. The work remains unsaleable forever and can only be transferred to someone else through certain care-conditions. The independence of appropriation is replaced by the dependence on caring for, which is pre-eminently a relational act.</span></span></p><p style="font-stretch: normal; line-height: normal; margin: 0px; min-height: 13px;"><span style="font-family: helvetica; font-size: x-small;"><span style="font-kerning: none;"></span><br /></span></p><p style="font-stretch: normal; line-height: normal; margin: 0px;"><span style="font-kerning: none;"><span style="font-family: helvetica; font-size: x-small;">Finally, we may wonder how such infections relate to collecting as a dominant overarching organizational system and how we can provide this system with new imaginations. After all, more than the loose sum of private collections, collecting also plays a structuring role for the arts. The prevailing dynamics of collecting determine to a large extent what art is and what it is not by constantly incorporating innovative works of art into what one might call the 'global art collection'. This does not mean, therefore, that this collection only contains the works of art collected in (the repositories of) important museums. Likewise, this collection logic can be associated with a hybrid dynamic that brings together all the mental hierarchies of works of art that live in the minds of art workers and art lovers all over the world. And also <i>the new</i> that is included in the collection should not be dismissed in a purely negative sense as a fashionable tendency. On the contrary, in its most modern political perception, it covers precisely the outcast that has remained unseen until now and therefore only seems new. Within this concept structured by the collection, the precarious does play an important role for the contemporary art space. Nevertheless, this precariousness appears here at the same time only within a 'closed political system' that rather functions as a universal horizon for the arts. A system that seems to be a cosmic reflection of the concept of democracy in the sense that what is not yet part of the global collection is made part of it in order to enter the public, but at the same time purely symbolic, space of the arts. </span></span></p><p style="font-stretch: normal; line-height: normal; margin: 0px; min-height: 13px;"><span style="font-family: helvetica; font-size: x-small;"><span style="font-kerning: none;"></span><br /></span></p><p style="font-stretch: normal; line-height: normal; margin: 0px;"><span style="-webkit-font-kerning: none;"><span style="font-family: helvetica; font-size: x-small;">It is at this point that perhaps the most radical questions about collecting arise. What other representations, for example, can adjust this linear movement (which always focuses on the new within a universal fantasy) so that vulnerability and precarity become characteristic of the structure of collecting itself as the organizing principle of art? Far-reaching imaginations will be necessary because our desires (as artists) are still strongly determined by the prevailing collection logic. For even those who pretend to radically change the system and values of art are certainly not insensitive to the drive to be immortalized (and thus become 'whole') in the collection as an innovative artist.</span></span></p><p style="font-size: 11px; font-stretch: normal; line-height: normal; margin: 0px; min-height: 13px;"><span style="font-family: helvetica;"><span style="font-kerning: none;"></span><br /></span></p><p style="-webkit-text-stroke-color: rgb(0, 0, 0); -webkit-text-stroke-width: initial; font-stretch: normal; line-height: normal; margin: 0px; min-height: 12px;"><span style="font-family: helvetica; font-size: x-small;"><span style="-webkit-font-kerning: none;"></span><br /></span></p><p style="-webkit-text-stroke-color: rgb(0, 0, 0); -webkit-text-stroke-width: initial; font-stretch: normal; line-height: normal; margin: 0px;"><span style="font-kerning: none;"><span style="font-family: helvetica; font-size: x-small;">(readings:)</span></span></p><p style="-webkit-text-stroke-color: rgb(0, 0, 0); -webkit-text-stroke-width: initial; font-stretch: normal; line-height: normal; margin: 0px; min-height: 7px;"><span style="font-family: helvetica; font-size: x-small;"><span style="font-kerning: none;"></span><br /></span></p><p style="-webkit-text-stroke-color: rgb(0, 0, 0); -webkit-text-stroke-width: initial; font-stretch: normal; line-height: normal; margin: 0px;"><span style="font-kerning: none;"><span style="font-family: helvetica; font-size: x-small;">Marcel Broodthaers aan het woord, Ludion, 1998, p.39</span></span></p><p style="-webkit-text-stroke-color: rgb(0, 0, 0); -webkit-text-stroke-width: initial; font-stretch: normal; line-height: normal; margin: 0px; min-height: 7px;"><span style="font-family: helvetica; font-size: x-small;"><span style="font-kerning: none;"></span><br /></span></p><p style="-webkit-text-stroke-color: rgb(0, 0, 0); -webkit-text-stroke-width: initial; font-stretch: normal; line-height: normal; margin: 0px;"><span style="font-kerning: none;"><span style="font-family: helvetica; font-size: x-small;">Education by infection, Boris Groys, uit Art School (propositions for the 21st century), Edited by Steven Henry Madoff, the MIT Press, 2009, p.26-32</span></span></p><p style="-webkit-text-stroke-color: rgb(0, 0, 0); -webkit-text-stroke-width: initial; font-stretch: normal; line-height: normal; margin: 0px; min-height: 7px;"><span style="font-family: helvetica; font-size: x-small;"><span style="font-kerning: none;"></span><br /></span></p><p style="-webkit-text-stroke-color: rgb(0, 0, 0); -webkit-text-stroke-width: initial; font-stretch: normal; line-height: normal; margin: 0px;"><span style="font-kerning: none;"><span style="font-family: helvetica; font-size: x-small;">Hito Steyerl, “Duty Free Art”, e-flux journal, 2016, no.63</span></span></p><p style="-webkit-text-stroke-color: rgb(0, 0, 0); -webkit-text-stroke-width: initial; font-stretch: normal; line-height: normal; margin: 0px; min-height: 7px;"><span style="font-family: helvetica; font-size: x-small;"><span style="font-kerning: none;"></span><br /></span></p><p style="-webkit-text-stroke-color: rgb(0, 0, 0); -webkit-text-stroke-width: initial; font-stretch: normal; line-height: normal; margin: 0px;"><span style="font-kerning: none;"><span style="font-family: helvetica; font-size: x-small;">over FORK gallery, Mario De Brabandere en Bart Baele, (c) Witte Zaal</span></span></p><p style="-webkit-text-stroke-color: rgb(0, 0, 0); -webkit-text-stroke-width: initial; font-stretch: normal; line-height: normal; margin: 0px; min-height: 7px;"><span style="font-family: helvetica; font-size: x-small;"><span style="font-kerning: none;"></span><br /></span></p><p style="-webkit-text-stroke-color: rgb(0, 0, 0); -webkit-text-stroke-width: initial; font-stretch: normal; line-height: normal; margin: 0px;"><span style="font-kerning: none;"><span style="font-family: helvetica; font-size: x-small;">zie de vergelijking met de installatie kunstenaar, Boris Groys, “Politics of Installation,” E Flux Journal, no.2 (January 2009)</span></span></p><p style="-webkit-text-stroke-color: rgb(0, 0, 0); -webkit-text-stroke-width: initial; font-stretch: normal; line-height: normal; margin: 0px; min-height: 7px;"><span style="font-family: helvetica; font-size: x-small;"><span style="font-kerning: none;"></span><br /></span></p><p style="-webkit-text-stroke-color: rgb(0, 0, 0); -webkit-text-stroke-width: initial; font-stretch: normal; line-height: normal; margin: 0px;"><span style="font-kerning: none;"><span style="font-family: helvetica; font-size: x-small;">Hito Steyerl. Is a Museum a Factory, Beyond Representation. Essays 1999-2009, nbk, 2016</span></span></p><p style="-webkit-text-stroke-color: rgb(0, 0, 0); -webkit-text-stroke-width: initial; font-stretch: normal; line-height: normal; margin: 0px; min-height: 7px;"><span style="font-family: helvetica; font-size: x-small;"><span style="font-kerning: none;"></span><br /></span></p><p style="-webkit-text-stroke-color: rgb(0, 0, 0); -webkit-text-stroke-width: initial; font-stretch: normal; line-height: normal; margin: 0px;"><span style="font-kerning: none;"><span style="font-family: helvetica; font-size: x-small;">‘Het regeren van precairen, de staat van onzekerheid’, Isabell Lorey, Ocatvo publications, 2016</span></span></p><p style="-webkit-text-stroke-color: rgb(0, 0, 0); -webkit-text-stroke-width: initial; font-stretch: normal; line-height: normal; margin: 0px; min-height: 7px;"><span style="font-family: helvetica; font-size: x-small;"><span style="font-kerning: none;"></span><br /></span></p><p style="-webkit-text-stroke-color: rgb(0, 0, 0); -webkit-text-stroke-width: initial; background-color: #fefefe; font-stretch: normal; line-height: normal; margin: 0px; min-height: 13px; text-align: justify;"><span style="font-family: helvetica; font-size: x-small;"><span style="font-kerning: none;"></span>
</span></p><p style="-webkit-text-stroke-color: rgb(0, 0, 0); -webkit-text-stroke-width: initial; font-stretch: normal; line-height: normal; margin: 0px;"><span style="-webkit-font-kerning: none;"><span style="font-family: helvetica; font-size: x-small;">Logica van de verzameling, Boris Groys, Octavo Amsterdam, 2013</span></span></p>
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Unknownnoreply@blogger.comtag:blogger.com,1999:blog-4942194192480108747.post-7585070866219189112018-03-07T21:56:00.001+01:002020-03-10T13:09:31.331+01:00short cut Tarwewijk 2018<div class="separator" style="clear: both; text-align: center;">
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<span style="font-kerning: none;">‘Short Cut Tarwewijk’ 2018 is again directing a line of walkers through the Tarwewijk; passing through private and public spaces. The walkers will for example enter a house via the frontdoor and will arrive in another street via the garden of the back neighbors. The route is prepared in advance and passing through private spaces has been agreed upon with the owners or residents; this means that the ‘walk in a line’ can continue without interruptions. </span></div>
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<span style="font-kerning: none;">This year we'll have a talk/debate before the walk for which we have invited three local socially engaged groups. Just as the walk is making the neighborhood visible in a different way by cutting through it, these associations also intervene within specific social spaces.</span></div>
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<span style="font-kerning: none;">1.30pm: Talk at Balkon aan de Maas with vereniging DSB (dialoog en sociale binding), Migrant Development Association and team ANIKA.</span></div>
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<span style="font-kerning: none;">2.30pm: Start of the walk at 'Balkon aan de Maas' in the direction of Zuidplein.</span></div>
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<span style="font-kerning: none;">3.30pm: coffee and tea</span></div>
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Op zaterdag 31 maart 2018 om 14u30 leidt ‘Short Cut Tarwewijk’<b><i> </i></b>opnieuw een wandelende lijn mensen door de Tarwewijk waarbij zowel openbaar als privéterrein doorkruist wordt. Zo zullen de wandelaars bijvoorbeeld een voordeur binnengaan, en via de tuin van de achterburen in een andere straat weer naar buitenkomen. Het traject wordt vooraf volledig voorbereid en over iedere doorsteek is onderhandeld met de bewoners of eigenaars zodat de wandeling zonder onderbrekingen kan verlopen.<br />
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<span style="font-kerning: none;">Voorafgaand aan de wandeling om 13u30 zal een gesprek plaatsvinden waarvoor we enkele lokale, maatschappelijk geëngageerde organisaties hebben uitgenodigd. Net zoals de wandeling door de Tarwebuurt snijdt en zo de wijk op een andere manier zichtbaar maakt, zo ook willen we zichtbaarheid geven aan de specifiek maatschappelijke ruimtes waarbinnen deze verenigingen interveniëren. Met DSB (dialoog en sociale binding) zullen we praten over het monument voor de gastarbeider op het Afrikaanderplein waarvan zij de initiators zijn, met de Migrant Development Association over het verschaffen van informatie als emancipatie-instrument en hoe dit het leven van de in Rotterdam wonende Afrikanen kan verbeteren en met team ANIKA tot slot hebben we het over tactieken om isolement van sommige Poolse nieuwkomers in de stad te voorkomen. <br />
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<span style="color: #666666; font-kerning: none;">13u30: Gesprek aan <i>Balkon aan de Maas</i> met vereniging DSB (dialoog en sociale binding) <a href="https://toplocalplaces.com/netherlands/rotterdam/community-organization/dsb-vereniging/261409130540013"><span style="-webkit-font-kerning: none; color: #0000e9;">https://toplocalplaces.com/netherlands/rotterdam/community-organization/dsb-vereniging/261409130540013</span></a>, Migrant Development Association <a href="http://mda-rotterdam.blogspot.nl/p/about-us.html"><span style="-webkit-font-kerning: none; color: #0000e9;">http://mda-rotterdam.blogspot.nl/p/about-us.html</span></a> en team ANIKA <a href="https://www.facebook.com/anikateam/"><span style="-webkit-font-kerning: none; color: #0000e9;">https://www.facebook.com/anikateam/</span></a>.</span></div>
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<span style="font-kerning: none;">14u30: De wandeling vertrekt van het <i>Balkon aan de Maas </i>richting <i>Zuidplein.</i></span></div>
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<span style="font-kerning: none;">15u30: koffie en thee met hapjes.<br />
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<tr><td class="tr-caption" style="text-align: center;">photo, Despina Papachristoudi</td></tr>
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<span style="font-kerning: none;"><i>met steun van 'de Gemeente Rotterdam', CBK/SIR, woonstad, NAC/MYA fonds, 'bewonersinitiatief gebiedscommisie Rotterdam', Vlaamse Gemeenschap en Erik Dullaert.</i></span></div>
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<span style="font-kerning: none;"><i>Een productie van Stedelinks010 en Vlaamse Gemeenschap.</i></span></div>
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<span style="font-kerning: none;">Despina Papachristoudi</span></div>
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<div style="font-family: "Helvetica Neue"; font-size: 13px; font-stretch: normal; line-height: normal;">
<span style="font-kerning: none;">George van den Handel</span></div>
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Unknownnoreply@blogger.comtag:blogger.com,1999:blog-4942194192480108747.post-76971624330511994182017-10-06T14:52:00.000+02:002017-10-06T14:53:12.000+02:00<div class="separator" style="clear: both; text-align: center;">
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<span style="font-family: "helvetica neue" , "arial" , "helvetica" , sans-serif;"><i>the contract</i> at ACOD Brussels</span></div>
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Unknownnoreply@blogger.comtag:blogger.com,1999:blog-4942194192480108747.post-60976545602462091342017-09-02T11:10:00.000+02:002017-12-01T17:41:37.966+01:00the short cut healing sessions (living room XL)<br />
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<tr><td class="tr-caption" style="text-align: center;"><span style="background-color: white; font-family: "helvetica neue" , "arial" , "helvetica" , sans-serif; font-size: 13px;">© 2017 by Alena Schmick</span></td></tr>
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<span style="background-color: white; font-family: "helvetica neue" , "arial" , "helvetica" , sans-serif;">the short cut healing sessions (living room XL)</span><br />
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Unknownnoreply@blogger.comtag:blogger.com,1999:blog-4942194192480108747.post-39629399042812994242017-06-10T07:42:00.003+02:002020-03-10T13:13:13.755+01:00being together apart - gesprek: 05/06/2017<div class="separator" style="clear: both; text-align: center;">
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<span style="font-kerning: none;">Being Together Apart is een work in progress dat in tegenstelling tot Short Cut Tarwewijk vertrekt van bestaande dissensuele contexten. In verschillende Europese steden wil ik telkens politieke en activistische groepen met een radicale progressieve visie op de democratische waarden ‘gelijkheid’ en ‘vrijheid’ samenbrengen. Dit project kende voorjaar 2017 een eerste onderzoekcase in Praag en zal verder uitgewerkt worden in andere steden. Het project heeft tot doel een fictief en utopisch politiek model na te bootsen als tegengewicht voor de huidige politieke status quo. Het werk vertrekt van een protocol waarbij de gevoerde gesprekken en discussies die ik organiser met deze groepen, tijdens participatieve productieprocessen verwerkt worden tot monumentale patchwerken. De quilts bestaan uit de logo’s van de organisaties en schema’s van diagrammen die de ideologische posities van de groepen en hun diverse antwoorden op maatschappelijke uitdagingen weergeven.</span></div>
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onderzoeksfase, Praag, (Meetfactory), 2017 </i></span></div>
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During his stay in the MeetFactory, Stijn Van Dorpe has been researching forms of ideology that offer a counterweight for the presumed natural and as such invisible ideology of neoliberalism. Van Dorpe invited different Prague based ideological groups that all assume a radical approach towards different inequalities (caused by capitalist society), to have a common meeting and to discuss some thorny issues. The outcome of this discussion will be visualized by a huge fabric, assembled by sewing during a week of collective meetings. The fabric will be created into a quilt of different ideological signs and positions of the group's together with </span><span style="-webkit-font-kerning: none; font-size: 13.3px; font-stretch: normal; line-height: normal;">marks </span><span style="font-kerning: none;">of how the group’s relate to each other and actual solutions for different political challenges. By bringing these people together around the central democratic values of equality and freedom, the artist (re)installs a fictional, utopian political model, a model that offers alternatives for today's status quo. On Saturday the 10th during the open studio at 8.30 pm, the fabric formation will </span><span style="-webkit-font-kerning: none; font-size: 16px; font-stretch: normal; line-height: normal;">give rise to a public discussion. </span></div>
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<span style="font-kerning: none;">Ludmila Smejkalova' and</span></div>
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<span style="font-kerning: none;">RFK, SocSol, INR, KSM, Mladí zelení, Jidelna and Ženy 365</span></div>
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Unknownnoreply@blogger.comtag:blogger.com,1999:blog-4942194192480108747.post-81532879344204736822017-04-27T16:16:00.001+02:002021-04-20T10:49:52.376+02:00Being together apart<div class="separator" style="clear: both; text-align: center;">
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<span style="color: #666666; font-family: helvetica;"><span style="font-size: x-small;"><br /></span>
<span style="font-size: x-small;">performance in the frame of Hotel Charleroi@mhka/ photo Ilke De Vries</span><br />
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<span face="Helvetica Neue, Arial, Helvetica, sans-serif">I invited two or three people I met during the hotel Charleroi project </span><br />
<span face="Helvetica Neue, Arial, Helvetica, sans-serif">to sit with me in a space </span><br />
<span face=""Helvetica Neue", Arial, Helvetica, sans-serif">for the duration of half an hour </span><br />
<span face=""Helvetica Neue", Arial, Helvetica, sans-serif">without speaking</span><br />
<span face="Helvetica Neue, Arial, Helvetica, sans-serif"> keeping an eye on the spread clocks </span><br />
<span face="Helvetica Neue, Arial, Helvetica, sans-serif">drinking together a glass of water every 5 minutes</span><br />
<span face="Helvetica Neue, Arial, Helvetica, sans-serif"><br /></span>
<span face="Helvetica Neue, Arial, Helvetica, sans-serif">I repeated this a few times with other invited guests</span></span><br />
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Unknownnoreply@blogger.comtag:blogger.com,1999:blog-4942194192480108747.post-76743125078144049372017-03-25T22:25:00.000+01:002018-04-04T16:20:28.353+02:00short cut tarwewijk (2017)<div class="separator" style="clear: both; text-align: center;">
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to turn the walk in the Tarwewijk into an annual event. It is the intension to shift the trajectory every year. In this way, new locations will come to be included, and visited. Unlike a
one-time event, which the artist leaves, once it is finished, to find new
locations to put in the spotlight, a long-lasting, recurring project requires
the artist, as creator, to focus on the local happening, in other words, on the
community of the very place in which it is held. The focus of the project comes
to lie on the annually recurring development of the project. In this way, new contacts will be created, new
people will become involved, new dialogs entered into."<o:p></o:p></span></span></div>
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Closing"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Signature"/>
<w:LsdException Locked="false" Priority="1" SemiHidden="true"
UnhideWhenUsed="true" Name="Default Paragraph Font"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Body Text"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Body Text Indent"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="List Continue"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="List Continue 2"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="List Continue 3"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="List Continue 4"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="List Continue 5"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Message Header"/>
<w:LsdException Locked="false" Priority="11" QFormat="true" Name="Subtitle"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Salutation"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Date"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Body Text First Indent"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Body Text First Indent 2"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Note Heading"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Body Text 2"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Body Text 3"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Body Text Indent 2"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Body Text Indent 3"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Block Text"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Hyperlink"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="FollowedHyperlink"/>
<w:LsdException Locked="false" Priority="22" QFormat="true" Name="Strong"/>
<w:LsdException Locked="false" Priority="20" QFormat="true" Name="Emphasis"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Document Map"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Plain Text"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="E-mail Signature"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="HTML Top of Form"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="HTML Bottom of Form"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Normal (Web)"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="HTML Acronym"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="HTML Address"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="HTML Cite"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="HTML Code"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="HTML Definition"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="HTML Keyboard"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="HTML Preformatted"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="HTML Sample"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="HTML Typewriter"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="HTML Variable"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Normal Table"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="annotation subject"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="No List"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Outline List 1"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Outline List 2"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Outline List 3"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Simple 1"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Simple 2"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Simple 3"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Classic 1"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Classic 2"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Classic 3"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Classic 4"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Colorful 1"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Colorful 2"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Colorful 3"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Columns 1"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Columns 2"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Columns 3"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Columns 4"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Columns 5"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Grid 1"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Grid 2"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Grid 3"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Grid 4"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Grid 5"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Grid 6"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Grid 7"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Grid 8"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table List 1"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table List 2"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table List 3"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table List 4"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table List 5"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table List 6"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table List 7"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table List 8"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table 3D effects 1"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table 3D effects 2"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table 3D effects 3"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Contemporary"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Elegant"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Professional"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Subtle 1"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Subtle 2"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Web 1"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Web 2"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Web 3"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Balloon Text"/>
<w:LsdException Locked="false" Priority="39" Name="Table Grid"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Theme"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Note Level 1"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Note Level 2"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Note Level 3"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Note Level 4"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Note Level 5"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Note Level 6"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Note Level 7"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Note Level 8"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Note Level 9"/>
<w:LsdException Locked="false" SemiHidden="true" Name="Placeholder Text"/>
<w:LsdException Locked="false" Priority="1" QFormat="true" Name="No Spacing"/>
<w:LsdException Locked="false" Priority="60" Name="Light Shading"/>
<w:LsdException Locked="false" Priority="61" Name="Light List"/>
<w:LsdException Locked="false" Priority="62" Name="Light Grid"/>
<w:LsdException Locked="false" Priority="63" Name="Medium Shading 1"/>
<w:LsdException Locked="false" Priority="64" Name="Medium Shading 2"/>
<w:LsdException Locked="false" Priority="65" Name="Medium List 1"/>
<w:LsdException Locked="false" Priority="66" Name="Medium List 2"/>
<w:LsdException Locked="false" Priority="67" Name="Medium Grid 1"/>
<w:LsdException Locked="false" Priority="68" Name="Medium Grid 2"/>
<w:LsdException Locked="false" Priority="69" Name="Medium Grid 3"/>
<w:LsdException Locked="false" Priority="70" Name="Dark List"/>
<w:LsdException Locked="false" Priority="71" Name="Colorful Shading"/>
<w:LsdException Locked="false" Priority="72" Name="Colorful List"/>
<w:LsdException Locked="false" Priority="73" Name="Colorful Grid"/>
<w:LsdException Locked="false" Priority="60" Name="Light Shading Accent 1"/>
<w:LsdException Locked="false" Priority="61" Name="Light List Accent 1"/>
<w:LsdException Locked="false" Priority="62" Name="Light Grid Accent 1"/>
<w:LsdException Locked="false" Priority="63" Name="Medium Shading 1 Accent 1"/>
<w:LsdException Locked="false" Priority="64" Name="Medium Shading 2 Accent 1"/>
<w:LsdException Locked="false" Priority="65" Name="Medium List 1 Accent 1"/>
<w:LsdException Locked="false" SemiHidden="true" Name="Revision"/>
<w:LsdException Locked="false" Priority="34" QFormat="true"
Name="List Paragraph"/>
<w:LsdException Locked="false" Priority="29" QFormat="true" Name="Quote"/>
<w:LsdException Locked="false" Priority="30" QFormat="true"
Name="Intense Quote"/>
<w:LsdException Locked="false" Priority="66" Name="Medium List 2 Accent 1"/>
<w:LsdException Locked="false" Priority="67" Name="Medium Grid 1 Accent 1"/>
<w:LsdException Locked="false" Priority="68" Name="Medium Grid 2 Accent 1"/>
<w:LsdException Locked="false" Priority="69" Name="Medium Grid 3 Accent 1"/>
<w:LsdException Locked="false" Priority="70" Name="Dark List Accent 1"/>
<w:LsdException Locked="false" Priority="71" Name="Colorful Shading Accent 1"/>
<w:LsdException Locked="false" Priority="72" Name="Colorful List Accent 1"/>
<w:LsdException Locked="false" Priority="73" Name="Colorful Grid Accent 1"/>
<w:LsdException Locked="false" Priority="60" Name="Light Shading Accent 2"/>
<w:LsdException Locked="false" Priority="61" Name="Light List Accent 2"/>
<w:LsdException Locked="false" Priority="62" Name="Light Grid Accent 2"/>
<w:LsdException Locked="false" Priority="63" Name="Medium Shading 1 Accent 2"/>
<w:LsdException Locked="false" Priority="64" Name="Medium Shading 2 Accent 2"/>
<w:LsdException Locked="false" Priority="65" Name="Medium List 1 Accent 2"/>
<w:LsdException Locked="false" Priority="66" Name="Medium List 2 Accent 2"/>
<w:LsdException Locked="false" Priority="67" Name="Medium Grid 1 Accent 2"/>
<w:LsdException Locked="false" Priority="68" Name="Medium Grid 2 Accent 2"/>
<w:LsdException Locked="false" Priority="69" Name="Medium Grid 3 Accent 2"/>
<w:LsdException Locked="false" Priority="70" Name="Dark List Accent 2"/>
<w:LsdException Locked="false" Priority="71" Name="Colorful Shading Accent 2"/>
<w:LsdException Locked="false" Priority="72" Name="Colorful List Accent 2"/>
<w:LsdException Locked="false" Priority="73" Name="Colorful Grid Accent 2"/>
<w:LsdException Locked="false" Priority="60" Name="Light Shading Accent 3"/>
<w:LsdException Locked="false" Priority="61" Name="Light List Accent 3"/>
<w:LsdException Locked="false" Priority="62" Name="Light Grid Accent 3"/>
<w:LsdException Locked="false" Priority="63" Name="Medium Shading 1 Accent 3"/>
<w:LsdException Locked="false" Priority="64" Name="Medium Shading 2 Accent 3"/>
<w:LsdException Locked="false" Priority="65" Name="Medium List 1 Accent 3"/>
<w:LsdException Locked="false" Priority="66" Name="Medium List 2 Accent 3"/>
<w:LsdException Locked="false" Priority="67" Name="Medium Grid 1 Accent 3"/>
<w:LsdException Locked="false" Priority="68" Name="Medium Grid 2 Accent 3"/>
<w:LsdException Locked="false" Priority="69" Name="Medium Grid 3 Accent 3"/>
<w:LsdException Locked="false" Priority="70" Name="Dark List Accent 3"/>
<w:LsdException Locked="false" Priority="71" Name="Colorful Shading Accent 3"/>
<w:LsdException Locked="false" Priority="72" Name="Colorful List Accent 3"/>
<w:LsdException Locked="false" Priority="73" Name="Colorful Grid Accent 3"/>
<w:LsdException Locked="false" Priority="60" Name="Light Shading Accent 4"/>
<w:LsdException Locked="false" Priority="61" Name="Light List Accent 4"/>
<w:LsdException Locked="false" Priority="62" Name="Light Grid Accent 4"/>
<w:LsdException Locked="false" Priority="63" Name="Medium Shading 1 Accent 4"/>
<w:LsdException Locked="false" Priority="64" Name="Medium Shading 2 Accent 4"/>
<w:LsdException Locked="false" Priority="65" Name="Medium List 1 Accent 4"/>
<w:LsdException Locked="false" Priority="66" Name="Medium List 2 Accent 4"/>
<w:LsdException Locked="false" Priority="67" Name="Medium Grid 1 Accent 4"/>
<w:LsdException Locked="false" Priority="68" Name="Medium Grid 2 Accent 4"/>
<w:LsdException Locked="false" Priority="69" Name="Medium Grid 3 Accent 4"/>
<w:LsdException Locked="false" Priority="70" Name="Dark List Accent 4"/>
<w:LsdException Locked="false" Priority="71" Name="Colorful Shading Accent 4"/>
<w:LsdException Locked="false" Priority="72" Name="Colorful List Accent 4"/>
<w:LsdException Locked="false" Priority="73" Name="Colorful Grid Accent 4"/>
<w:LsdException Locked="false" Priority="60" Name="Light Shading Accent 5"/>
<w:LsdException Locked="false" Priority="61" Name="Light List Accent 5"/>
<w:LsdException Locked="false" Priority="62" Name="Light Grid Accent 5"/>
<w:LsdException Locked="false" Priority="63" Name="Medium Shading 1 Accent 5"/>
<w:LsdException Locked="false" Priority="64" Name="Medium Shading 2 Accent 5"/>
<w:LsdException Locked="false" Priority="65" Name="Medium List 1 Accent 5"/>
<w:LsdException Locked="false" Priority="66" Name="Medium List 2 Accent 5"/>
<w:LsdException Locked="false" Priority="67" Name="Medium Grid 1 Accent 5"/>
<w:LsdException Locked="false" Priority="68" Name="Medium Grid 2 Accent 5"/>
<w:LsdException Locked="false" Priority="69" Name="Medium Grid 3 Accent 5"/>
<w:LsdException Locked="false" Priority="70" Name="Dark List Accent 5"/>
<w:LsdException Locked="false" Priority="71" Name="Colorful Shading Accent 5"/>
<w:LsdException Locked="false" Priority="72" Name="Colorful List Accent 5"/>
<w:LsdException Locked="false" Priority="73" Name="Colorful Grid Accent 5"/>
<w:LsdException Locked="false" Priority="60" Name="Light Shading Accent 6"/>
<w:LsdException Locked="false" Priority="61" Name="Light List Accent 6"/>
<w:LsdException Locked="false" Priority="62" Name="Light Grid Accent 6"/>
<w:LsdException Locked="false" Priority="63" Name="Medium Shading 1 Accent 6"/>
<w:LsdException Locked="false" Priority="64" Name="Medium Shading 2 Accent 6"/>
<w:LsdException Locked="false" Priority="65" Name="Medium List 1 Accent 6"/>
<w:LsdException Locked="false" Priority="66" Name="Medium List 2 Accent 6"/>
<w:LsdException Locked="false" Priority="67" Name="Medium Grid 1 Accent 6"/>
<w:LsdException Locked="false" Priority="68" Name="Medium Grid 2 Accent 6"/>
<w:LsdException Locked="false" Priority="69" Name="Medium Grid 3 Accent 6"/>
<w:LsdException Locked="false" Priority="70" Name="Dark List Accent 6"/>
<w:LsdException Locked="false" Priority="71" Name="Colorful Shading Accent 6"/>
<w:LsdException Locked="false" Priority="72" Name="Colorful List Accent 6"/>
<w:LsdException Locked="false" Priority="73" Name="Colorful Grid Accent 6"/>
<w:LsdException Locked="false" Priority="19" QFormat="true"
Name="Subtle Emphasis"/>
<w:LsdException Locked="false" Priority="21" QFormat="true"
Name="Intense Emphasis"/>
<w:LsdException Locked="false" Priority="31" QFormat="true"
Name="Subtle Reference"/>
<w:LsdException Locked="false" Priority="32" QFormat="true"
Name="Intense Reference"/>
<w:LsdException Locked="false" Priority="33" QFormat="true" Name="Book Title"/>
<w:LsdException Locked="false" Priority="37" SemiHidden="true"
UnhideWhenUsed="true" Name="Bibliography"/>
<w:LsdException Locked="false" Priority="39" SemiHidden="true"
UnhideWhenUsed="true" QFormat="true" Name="TOC Heading"/>
<w:LsdException Locked="false" Priority="41" Name="Plain Table 1"/>
<w:LsdException Locked="false" Priority="42" Name="Plain Table 2"/>
<w:LsdException Locked="false" Priority="43" Name="Plain Table 3"/>
<w:LsdException Locked="false" Priority="44" Name="Plain Table 4"/>
<w:LsdException Locked="false" Priority="45" Name="Plain Table 5"/>
<w:LsdException Locked="false" Priority="40" Name="Grid Table Light"/>
<w:LsdException Locked="false" Priority="46" Name="Grid Table 1 Light"/>
<w:LsdException Locked="false" Priority="47" Name="Grid Table 2"/>
<w:LsdException Locked="false" Priority="48" Name="Grid Table 3"/>
<w:LsdException Locked="false" Priority="49" Name="Grid Table 4"/>
<w:LsdException Locked="false" Priority="50" Name="Grid Table 5 Dark"/>
<w:LsdException Locked="false" Priority="51" Name="Grid Table 6 Colorful"/>
<w:LsdException Locked="false" Priority="52" Name="Grid Table 7 Colorful"/>
<w:LsdException Locked="false" Priority="46"
Name="Grid Table 1 Light Accent 1"/>
<w:LsdException Locked="false" Priority="47" Name="Grid Table 2 Accent 1"/>
<w:LsdException Locked="false" Priority="48" Name="Grid Table 3 Accent 1"/>
<w:LsdException Locked="false" Priority="49" Name="Grid Table 4 Accent 1"/>
<w:LsdException Locked="false" Priority="50" Name="Grid Table 5 Dark Accent 1"/>
<w:LsdException Locked="false" Priority="51"
Name="Grid Table 6 Colorful Accent 1"/>
<w:LsdException Locked="false" Priority="52"
Name="Grid Table 7 Colorful Accent 1"/>
<w:LsdException Locked="false" Priority="46"
Name="Grid Table 1 Light Accent 2"/>
<w:LsdException Locked="false" Priority="47" Name="Grid Table 2 Accent 2"/>
<w:LsdException Locked="false" Priority="48" Name="Grid Table 3 Accent 2"/>
<w:LsdException Locked="false" Priority="49" Name="Grid Table 4 Accent 2"/>
<w:LsdException Locked="false" Priority="50" Name="Grid Table 5 Dark Accent 2"/>
<w:LsdException Locked="false" Priority="51"
Name="Grid Table 6 Colorful Accent 2"/>
<w:LsdException Locked="false" Priority="52"
Name="Grid Table 7 Colorful Accent 2"/>
<w:LsdException Locked="false" Priority="46"
Name="Grid Table 1 Light Accent 3"/>
<w:LsdException Locked="false" Priority="47" Name="Grid Table 2 Accent 3"/>
<w:LsdException Locked="false" Priority="48" Name="Grid Table 3 Accent 3"/>
<w:LsdException Locked="false" Priority="49" Name="Grid Table 4 Accent 3"/>
<w:LsdException Locked="false" Priority="50" Name="Grid Table 5 Dark Accent 3"/>
<w:LsdException Locked="false" Priority="51"
Name="Grid Table 6 Colorful Accent 3"/>
<w:LsdException Locked="false" Priority="52"
Name="Grid Table 7 Colorful Accent 3"/>
<w:LsdException Locked="false" Priority="46"
Name="Grid Table 1 Light Accent 4"/>
<w:LsdException Locked="false" Priority="47" Name="Grid Table 2 Accent 4"/>
<w:LsdException Locked="false" Priority="48" Name="Grid Table 3 Accent 4"/>
<w:LsdException Locked="false" Priority="49" Name="Grid Table 4 Accent 4"/>
<w:LsdException Locked="false" Priority="50" Name="Grid Table 5 Dark Accent 4"/>
<w:LsdException Locked="false" Priority="51"
Name="Grid Table 6 Colorful Accent 4"/>
<w:LsdException Locked="false" Priority="52"
Name="Grid Table 7 Colorful Accent 4"/>
<w:LsdException Locked="false" Priority="46"
Name="Grid Table 1 Light Accent 5"/>
<w:LsdException Locked="false" Priority="47" Name="Grid Table 2 Accent 5"/>
<w:LsdException Locked="false" Priority="48" Name="Grid Table 3 Accent 5"/>
<w:LsdException Locked="false" Priority="49" Name="Grid Table 4 Accent 5"/>
<w:LsdException Locked="false" Priority="50" Name="Grid Table 5 Dark Accent 5"/>
<w:LsdException Locked="false" Priority="51"
Name="Grid Table 6 Colorful Accent 5"/>
<w:LsdException Locked="false" Priority="52"
Name="Grid Table 7 Colorful Accent 5"/>
<w:LsdException Locked="false" Priority="46"
Name="Grid Table 1 Light Accent 6"/>
<w:LsdException Locked="false" Priority="47" Name="Grid Table 2 Accent 6"/>
<w:LsdException Locked="false" Priority="48" Name="Grid Table 3 Accent 6"/>
<w:LsdException Locked="false" Priority="49" Name="Grid Table 4 Accent 6"/>
<w:LsdException Locked="false" Priority="50" Name="Grid Table 5 Dark Accent 6"/>
<w:LsdException Locked="false" Priority="51"
Name="Grid Table 6 Colorful Accent 6"/>
<w:LsdException Locked="false" Priority="52"
Name="Grid Table 7 Colorful Accent 6"/>
<w:LsdException Locked="false" Priority="46" Name="List Table 1 Light"/>
<w:LsdException Locked="false" Priority="47" Name="List Table 2"/>
<w:LsdException Locked="false" Priority="48" Name="List Table 3"/>
<w:LsdException Locked="false" Priority="49" Name="List Table 4"/>
<w:LsdException Locked="false" Priority="50" Name="List Table 5 Dark"/>
<w:LsdException Locked="false" Priority="51" Name="List Table 6 Colorful"/>
<w:LsdException Locked="false" Priority="52" Name="List Table 7 Colorful"/>
<w:LsdException Locked="false" Priority="46"
Name="List Table 1 Light Accent 1"/>
<w:LsdException Locked="false" Priority="47" Name="List Table 2 Accent 1"/>
<w:LsdException Locked="false" Priority="48" Name="List Table 3 Accent 1"/>
<w:LsdException Locked="false" Priority="49" Name="List Table 4 Accent 1"/>
<w:LsdException Locked="false" Priority="50" Name="List Table 5 Dark Accent 1"/>
<w:LsdException Locked="false" Priority="51"
Name="List Table 6 Colorful Accent 1"/>
<w:LsdException Locked="false" Priority="52"
Name="List Table 7 Colorful Accent 1"/>
<w:LsdException Locked="false" Priority="46"
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<div class="MsoNormal" style="mso-layout-grid-align: none; mso-pagination: none; text-autospace: none;">
<span lang="EN-US" style="font-size: 11.0pt; mso-ansi-language: EN-US; mso-bidi-font-family: "Helvetica Neue"; mso-no-proof: yes;"><span style="font-family: inherit;">"Only by making it an
annual ritual can the <i style="mso-bidi-font-style: normal;">short cut</i>
become more than a mere gesture. It can become rooted and leave a deeper mark. At
the same time, this way of working also inplies a great unknown. An important question is for instance: which
structure will/can/may the project adopt so that it may continue as an annual
event? And in which way can this project be supported by the residents? And
what is/will be my role as an artist?"<o:p></o:p></span></span><br />
<span lang="EN-US" style="font-size: 11.0pt; mso-ansi-language: EN-US; mso-bidi-font-family: "Helvetica Neue"; mso-no-proof: yes;"><span style="font-family: inherit;"><br /></span></span>
<span lang="EN-US" style="font-size: 11.0pt; mso-ansi-language: EN-US; mso-bidi-font-family: "Helvetica Neue"; mso-no-proof: yes;"><span style="font-family: inherit;"><br /></span></span>
<span lang="EN-US" style="font-size: 11.0pt; mso-ansi-language: EN-US; mso-bidi-font-family: "Helvetica Neue"; mso-no-proof: yes;"><span style="font-family: inherit;"><br /></span></span>
<br />
<div style="text-align: center;">
<span lang="EN-US" style="font-size: 11.0pt; mso-ansi-language: EN-US; mso-bidi-font-family: "Helvetica Neue"; mso-no-proof: yes;"><span style="font-family: inherit;"><br /></span></span></div>
<span lang="EN-US" style="font-size: 11.0pt; mso-ansi-language: EN-US; mso-bidi-font-family: "Helvetica Neue"; mso-no-proof: yes;"><span style="font-family: inherit;"><span style="color: #0000ee; font-family: inherit; font-size: small; text-decoration: underline;"><br /></span></span></span><span lang="EN-US" style="font-size: 11.0pt; mso-ansi-language: EN-US; mso-bidi-font-family: "Helvetica Neue"; mso-no-proof: yes;"><span style="font-family: inherit;">some pictures of the 2017 walk:</span></span><br />
<span lang="EN-US" style="font-size: 11.0pt; mso-ansi-language: EN-US; mso-bidi-font-family: "Helvetica Neue"; mso-no-proof: yes;"><span style="font-family: inherit;"><br /></span></span>
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<i><span style="font-family: inherit;"><span style="font-size: x-small;">photo's taken by: Erik van den Akker, Despina Papachristoudi and George van den Handel/ with support CBK Rotterdam</span></span></i><br />
<span style="font-family: inherit;"><br /></span>
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<br />
<span style="font-family: inherit;"><br /></span>
<span style="font-family: inherit;"><br /></span>
<span style="font-family: inherit;"><br /></span>
<span style="font-family: inherit;"><i><span style="font-size: x-small;"><a href="https://stijnvandorpe.blogspot.be/2016/03/short-cut-tarwewijk-rotterdam.html">https://stijnvandorpe.blogspot.be/2016/03/short-cut-tarwewijk-rotterdam.html</a></span></i></span><br />
<i><span style="font-family: inherit;"><br /></span></i>
<a href="https://stijnvandorpe.blogspot.be/2016/10/state-of-city.html"><span style="font-family: inherit; font-size: x-small;"><i>https://stijnvandorpe.blogspot.be/2016/10/state-of-city.html</i></span></a>Unknownnoreply@blogger.comtag:blogger.com,1999:blog-4942194192480108747.post-33544027171878193972017-03-22T13:21:00.001+01:002021-04-20T10:51:30.606+02:00scale model 'the room', AIR Antwerp<div class="separator" style="clear: both; text-align: center;">
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<span style="-webkit-font-kerning: none; font-kerning: none; font-size: x-small;">performance maja jantar activating 'the room'</span></div>
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<span style="color: #666666; font-family: helvetica;"><span><span style="-webkit-font-kerning: none; font-kerning: none;">During my residency in <i>AIR</i> I had a scale model of the exhibition space in Hasselt build from tropical wood Wengé and </span><span style="-webkit-font-kerning: none; font-kerning: none;">took it back to the students. Each student painted one of the four walls of the scale model. The model can now be shown in exhibition contexts, but must each time be activated by a live sound performance composed from the </span><span style="-webkit-font-kerning: none; font-kerning: none;">sleeping sounds.</span></span><span> </span></span></div>
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<span style="color: #666666; font-family: helvetica;"><i><span face=""helvetica neue" , "arial" , "helvetica" , sans-serif" style="font-size: x-small;"><a href="https://stijnvandorpe.blogspot.be/2016/12/blog-post.html">https://stijnvandorpe.blogspot.be/2016/12/blog-post.html</a></span></i><br />
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<span style="-webkit-font-kerning: none; color: #666666; font-family: helvetica; font-kerning: none;">‘The Room’, scale model (<i>activation 2 AIR Antwerp: … 22-03-2017</i>)</span></div>
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<span style="-webkit-font-kerning: none; color: #666666; font-family: helvetica; font-kerning: none;">Voor de tentoonstelling in Manufactuur 3.0 in Z33 werkte ik samen met leerlingen schilder en decoratietechnieken van het KTA Hasselt. Samen beschilderden we een tentoonstellingsruimte in een imitatiemarmertechniek. Na de realisatie hiervan overnachtten we in diezelfde kamer en werden onze slaapgeluiden opgenomen. De leerlingen ontvingen hiervoor een vergoeding per geslapen uur. Tijdens de finissage van Manufactuur 3.0 speelde muzikante Maja Jantar een met de slaapgeluiden gecomponeerde sound-set in de gemarmerde ruimde.</span></div>
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<span style="-webkit-font-kerning: none; color: #666666; font-family: helvetica; font-kerning: none;">Tijdens mijn residentie in AIR liet ik een schaalmodel bouwen van de tentoonstellingsruimte in Hasselt in de tropische houtsoort Wengé en keerde hiermee naar de studenten terug. Iedere student schilderde één van de 4 wanden van de kamer in schaal. De maquette kan nu getoond worden in tentoonstellingscontexten, maar dient telkens geactiveerd te worden door een live uitgevoerde, met de slaapgeluiden gecomponeerde soundperformance.</span></div>
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<span style="color: #666666; font-family: helvetica;"><span style="-webkit-font-kerning: none; font-kerning: none;">Het werk vertrekt van de tentoonstellingsruimte als plaats en de interferentie ermee met een wereld die ver buiten de kunst ligt, de wereld van adolescenten die schildertechnieken leren om later als huisschilder aan de slag te gaan. Via het aanbrengen van een marmerimitatie transformeren de jongeren in de hoedanigheid van leerling zowel als arbeider, de kunstruimte in een (19</span><span style="-webkit-font-kerning: none; font-size: 8.9px; font-stretch: normal; line-height: normal;"><sup>de</sup></span><span style="-webkit-font-kerning: none; font-kerning: none;"> eeuwse) burgerlijke kamer. Termen als de kunstruimte of arbeid worden niet eenduidig tot begrip gebracht binnen het werk. Ze verhouden zich eerder tot permanent in conflict verkerende begripsbepalingen. Een voorbeeld hiervan is de bijzondere <i>aandacht</i> voor de fysieke geluiden van het slapen die met uiterste concentratie tot een geluids-compositie gekneed worden. Tegelijk kan men zeggen dat de slaapgeluiden (of het passieve, onbewuste lichaam) het creatief proces van de kunst binnengeloodst en (dus schaamteloos) gerecupereerd worden. Een attitude van aandacht en concentratie (als positieve begrippen binnen de kunst) plaatst zich tegenover een hedendaagse perverse bio-politieke logica (als machtsinstantie, dominante machinerie). Op dergelijke wijze kan men onder andere ook via het werk de (westerse hedendaagse) kunstruimte verbinden met zowel de efemere, immateriële marmerimitaties (het steen worden/ verdwijnen) als met een vanuit haar geschiedenis burgerlijke, elitaire en zelfs exotische (koloniale) positionering.</span></span></div>
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<span style="-webkit-font-kerning: none; color: #666666; font-family: helvetica; font-kerning: none;">Via een rituele sound performance rond de maquette wordt de aandacht opnieuw op de passieve (slapende lichamen) en tegelijk actieve (via de aangebrachte marmerschilderingen) aanwezigheid van de aspirant huisschilders gebracht. De kunstruimte (in schaal) en de handelingen van de aspirant schilders (en in het verlengde hun wereld) zijn elementen van het werk, ze staan oog in oog met elkaar en laten vandaaruit toe dat beiden elkaar als conflictueuze ruimtes gaan becommentariëren.</span></div>
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<span style="-webkit-font-kerning: none; color: #666666; font-family: helvetica; font-kerning: none;">(productie Z33 en AIR, 2016, 2017)</span></div>
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<span style="-webkit-font-kerning: none; color: #666666; font-family: helvetica; font-kerning: none;">the room 'menen' 10 mei 2017 (activation maquette by Sebastien Seynaeve)</span></div>
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Unknownnoreply@blogger.comtag:blogger.com,1999:blog-4942194192480108747.post-22973863393267876492016-11-01T19:39:00.000+01:002020-03-10T13:19:31.433+01:00the 'Room', Z33 Hasselt<div class="separator" style="clear: both; text-align: center;">
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<span style="font-kerning: none;">photo Kristof Vrancken</span></div>
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<span style="background-color: white;"><span style="color: #666666;"><span style="-webkit-font-kerning: none;">For the exhibition in <i>Manufactuur 3.0</i> in Z33, I worked with pupils from the department <i>painting and decoration techniques</i> from KTA Hasselt. Together we painted an exhibition space </span><span style="-webkit-font-kerning: none;">using an imitation marble technique. After completing this work, we spend the night in that room and our sleeping sounds were recorded. During the finissage of <i>Manufactuur 3.0</i>, musician Maja Jantar played a set composed of the sleeping sounds recorded in the marbled room.</span></span></span></div>
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<span style="font-kerning: none;">photos Tomas Uyttendaele</span></div>
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Unknownnoreply@blogger.comtag:blogger.com,1999:blog-4942194192480108747.post-35195748693446937422016-10-14T08:32:00.000+02:002018-09-03T20:52:13.194+02:00State of the City<div class="separator" style="clear: both; text-align: center;">
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<span lang="EN-US" style="font-family: inherit; mso-ansi-language: EN-US;">Contradictions and conflicts within
urban structures are central to Stijn Van Dorpe’s art. The city serves as a
field for experiencing and experimenting with social and cultural
discrepancies. Van Dorpe uses temporary interventions in particular to reveal
the human subject’s position within the urban structures he is subjected to and
to overcome them with the aid of performative transgressions of limits and
restructurings.<o:p></o:p></span></div>
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<span lang="EN-US" style="font-family: inherit; mso-ansi-language: EN-US;">During his three-month artist residency
Stijn Van Dorpe engaged with the neighborhood and city district of Tarwewijk in
south Rotterdam, where he lived and worked for the length of his residency. His
film “Shortcut Tarwewijk” documents a performance, for which neighbors and
interested others were invited to take part in a walk through the district that
is strongly influenced by migrants and largely accommodates the workers of the
local docks. Starting from his studio in the port and industrial area, the
artist conducts the participants through the district in a straight line—down
streets, across squares, and literally through living rooms, schools, churches,
youth and cultural centers. His district walk, with glimpses into both private
and public spaces, offers a vivid cross section of the area and its social
relations. From religion and culture to the personal realm, the performance
gives a direct, authentic look into the everyday lives and worldviews of the
district and its inhabitants. While “Shortcut Tarwewijk” documents the
performance, in the film “Voices” the conversations and interviews with
residents that preceded it are recited and recontextualized. Selected passages
from the interviews are read by school children in a recording studio during a
singing workshop. The contents of the passages and their reproduction by the
children reveals the gulf between the views and experiences of the interviewees
and the children’s worlds of experience. With lightness the children read out
or rhythmically sing the sometimes drastic utterances of the Tarwewijk residents-interviewees,
playfully integrating them in their musical efforts.<o:p></o:p></span></div>
<div class="MsoNormal" style="line-height: 150%; text-align: justify;">
<span lang="EN-US" style="font-family: inherit; mso-ansi-language: EN-US;"><br /></span></div>
<div class="MsoNormal" style="line-height: 150%; text-align: justify;">
<span lang="EN-US" style="font-family: inherit; mso-ansi-language: EN-US;">Christin Müller</span><br />
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEj5uGlaE-vxeAkEcxoCW7x0aMos212cIGlqVNQF4TyZJ3RZQ21JiwBg8nM7_Z6kkkmvnuNSUXcOK5vWnGrB8XpTOA2H7l4NPkbLVJvCQ-_XcDtrVpevWZsS2_t70JnOsWQq4DVgb3kqjMxZ/s1600/_E0A8205.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="426" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEj5uGlaE-vxeAkEcxoCW7x0aMos212cIGlqVNQF4TyZJ3RZQ21JiwBg8nM7_Z6kkkmvnuNSUXcOK5vWnGrB8XpTOA2H7l4NPkbLVJvCQ-_XcDtrVpevWZsS2_t70JnOsWQq4DVgb3kqjMxZ/s640/_E0A8205.jpg" width="640" /></a></div>
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<span lang="EN-US" style="font-family: inherit; mso-ansi-language: EN-US;"><br /></span>
<span style="font-size: x-small;"><span style="font-family: inherit;">photos installation view: </span>Günther Dächert<span style="font-family: inherit;"> </span></span></div>
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgTyEcPweqw7mlbZmXsLamvhFzuLsrqyZxtBLZzJgCHoUo8ILZGs2OWiMq8RZKp2dxfrFrqTndbQPp-9JtsPs0rk9qNB0_1X9e4bVbduUjRk4kKdmBLG3jKnwi5ckfCrNzIZFKBN7AbWhk5/s1600/vlcsnap-2016-10-06-14h10m21s501.png" imageanchor="1" style="clear: right; float: right; margin-bottom: 1em; margin-left: 1em;"><br /></a><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgTyEcPweqw7mlbZmXsLamvhFzuLsrqyZxtBLZzJgCHoUo8ILZGs2OWiMq8RZKp2dxfrFrqTndbQPp-9JtsPs0rk9qNB0_1X9e4bVbduUjRk4kKdmBLG3jKnwi5ckfCrNzIZFKBN7AbWhk5/s1600/vlcsnap-2016-10-06-14h10m21s501.png" imageanchor="1" style="clear: right; float: right; margin-bottom: 1em; margin-left: 1em;"><br /></a><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgTyEcPweqw7mlbZmXsLamvhFzuLsrqyZxtBLZzJgCHoUo8ILZGs2OWiMq8RZKp2dxfrFrqTndbQPp-9JtsPs0rk9qNB0_1X9e4bVbduUjRk4kKdmBLG3jKnwi5ckfCrNzIZFKBN7AbWhk5/s1600/vlcsnap-2016-10-06-14h10m21s501.png" imageanchor="1" style="clear: right; float: right; margin-bottom: 1em; margin-left: 1em;"><br /></a><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgTyEcPweqw7mlbZmXsLamvhFzuLsrqyZxtBLZzJgCHoUo8ILZGs2OWiMq8RZKp2dxfrFrqTndbQPp-9JtsPs0rk9qNB0_1X9e4bVbduUjRk4kKdmBLG3jKnwi5ckfCrNzIZFKBN7AbWhk5/s1600/vlcsnap-2016-10-06-14h10m21s501.png" imageanchor="1" style="clear: right; float: right; margin-bottom: 1em; margin-left: 1em;"><br /></a>Unknownnoreply@blogger.comtag:blogger.com,1999:blog-4942194192480108747.post-84398044345539484492016-10-03T05:35:00.001+02:002021-04-20T10:56:29.664+02:00het contract (installatie)<div class="separator" style="clear: both; text-align: center;">
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<br />Unknownnoreply@blogger.comtag:blogger.com,1999:blog-4942194192480108747.post-27969905200224639342016-09-10T20:53:00.004+02:002021-04-20T11:04:29.672+02:00Voices<div style="color: #26282a; font-family: "new times", serif; font-size: 16px;">
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<span style="-webkit-font-kerning: none; font-kerning: none;"><span style="color: #666666; font-family: helvetica;"><i>Voices</i> starts from recordings of stories / voices from local residents of the Tarwewijk in Rotterdam. </span></span></div>
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<span style="color: #666666; font-family: helvetica;"><span style="-webkit-font-kerning: none;">These stories</span><span style="-webkit-font-kerning: none;"> </span><span style="-webkit-font-kerning: none;">were collected during the production of <i>short cut Tarwewijk</i>, but did not end up in the final</span><span style="-webkit-font-kerning: none;"> video. During (the course of) two afternoons, these stories / voices from local residents were used as material by local children during a singing workshop in a music studio. A video was made of these workshops in which the political potential of the voice is central. </span><span style="-webkit-font-kerning: none;">A double, contrasting transfer takes place. Stories that </span><span style="-webkit-font-kerning: none;">express</span><span style="-webkit-font-kerning: none;"> the moral and political visions of local residents (a kind of linguistic / mental architecture) are passed on (as is the case in life), but in addition there is a learning process that focuses on the voice and its physical, material characteristics. A dichotomy continues to exist between the stories and the musical experiments. The space of art and that of the tarwewijk and life there do not really merge or serve each other but rather comment on each other. </span></span></div><div style="font-stretch: normal; line-height: normal;"><span style="color: #666666; font-family: helvetica;"><span style="-webkit-font-kerning: none;"><br /></span></span></div><div style="font-stretch: normal; line-height: normal;"><span style="color: #666666; font-family: helvetica;"><span style="-webkit-font-kerning: none;"><br /></span></span></div><div style="font-stretch: normal; line-height: normal;"><span style="color: #666666; font-family: helvetica;"><span style="-webkit-font-kerning: none;"><br /></span></span></div><div style="font-stretch: normal; line-height: normal;"><span style="color: #666666; font-family: helvetica;"><i><u><a href="https://vimeo.com/188978220">https://vimeo.com/188978220</a></u></i></span></div>
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Unknownnoreply@blogger.comtag:blogger.com,1999:blog-4942194192480108747.post-51168201003873724672016-04-12T12:00:00.005+02:002021-04-20T11:06:29.458+02:00the contract (performance)<div class="separator" style="clear: both; text-align: center;">
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<span style="-webkit-font-kerning: none; font-kerning: none;">with Bert De Leenheer, Dirk Vanhecke, Sven Van Huffel, Anthony Broeckhove, Anthony Paris, Maxim Lambrecht. Scenario: Robrecht Vanderbeeken</span></div><div style="font-family: "Helvetica Neue"; font-size: 16px; font-stretch: normal; line-height: normal;"><span style="-webkit-font-kerning: none; font-kerning: none;"><br /></span></div><div style="font-family: "Helvetica Neue"; font-size: 16px; font-stretch: normal; line-height: normal;"><span style="-webkit-font-kerning: none; font-kerning: none;"><br /></span></div><div style="font-family: "Helvetica Neue"; font-size: 16px; font-stretch: normal; line-height: normal;"><span style="-webkit-font-kerning: none; font-kerning: none;"><br /></span></div><div style="font-family: "Helvetica Neue"; font-size: 16px; font-stretch: normal; line-height: normal;"><span style="-webkit-font-kerning: none; font-kerning: none;"><br /></span></div><div style="font-family: "Helvetica Neue"; font-size: 16px; font-stretch: normal; line-height: normal;"><i><u><a href="https://vimeo.com/200490593">https://vimeo.com/200490593</a></u></i></div>
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<br />Unknownnoreply@blogger.comtag:blogger.com,1999:blog-4942194192480108747.post-82464422978034594902016-03-19T09:37:00.002+01:002021-04-20T11:10:37.009+02:00short cut Tarwewijk (Rotterdam)<div class="separator" style="clear: both; text-align: center;">
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<span style="-webkit-font-kerning: none; color: #666666; font-kerning: none;">On March 19, 2016, 200 people hiked along one straight line directly through the open spaces and private yards starting from my residency, crossing the entire Tarwewijk of Rotterdam.</span></div>
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<span style="-webkit-font-kerning: none; color: #666666; font-kerning: none;">The group went through front doors and out backdoors and into the neighbour’s yard on the following street. The continuous line included schools, churches, homes and gardens and crossed seamlessly from one location into the next. There were negotiations with each resident or owner of a location so that the line would flow without interruption. An important motive was to juxtapose the idea of <i>a map</i> with its many associations (the readable, the controllable, the engineered) with the <i>real life</i> in urban society.</span></div>
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<span style="-webkit-font-kerning: none; color: #666666; font-kerning: none;">The promenade brought in a strange, improper, artistic idea in the neighbourhood which functioned as a catalyst for discussions on both the possible meaning of the walk and views on urban environment, private and public space. At the same time the work refers to a collective body, by doing a poetic ‘connecting’ action that sets the scene for equality and breaks apart hierarchies. </span></div>
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<span style="color: #666666;"><span style="-webkit-font-kerning: none; font-kerning: none;"></span>video:</span></div><div style="font-family: "Helvetica Neue"; font-size: 16px; font-stretch: normal; line-height: normal; min-height: 18px;"><i><u><a href="https://vimeo.com/188809164">https://vimeo.com/188809164</a></u></i></div>
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<span style="-webkit-font-kerning: none; color: #666666; font-kerning: none;">Some film Documents made by participants/ neighbors/ local television station:</span></div>
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<span style="-webkit-font-kerning: none; font-kerning: none; text-decoration: underline;"><a href="http://linkis.com/www.youtube.com/sSnIB">http://linkis.com/www.youtube.com/sSnIB</a></span></div>
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<span style="-webkit-font-kerning: none; font-kerning: none; text-decoration: underline;"><a href="https://vimeo.com/159626050">https://vimeo.com/159626050</a></span></div>
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<span style="-webkit-font-kerning: none; font-kerning: none; text-decoration: underline;"><a href="https://www.facebook.com/hashtag/openrotterdam?source=feed_text&story_id=10207530771619048&pnref=story">https://www.facebook.com/hashtag/openrotterdam?source=feed_text&story_id=10207530771619048&pnref=story</a></span></div>
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<span style="-webkit-font-kerning: none; font-kerning: none; text-decoration: underline;"><a href="https://www.facebook.com/cultuurscout.charlois?fref=nf&pnref=story">https://www.facebook.com/cultuurscout.charlois?fref=nf&pnref=story</a></span></div>
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<span style="-webkit-font-kerning: none; color: #666666; font-kerning: none;">Photos:</span></div>
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<span face="Helvetica Neue, Arial, Helvetica, sans-serif" style="font-family: helvetica; font-size: x-small;">Erik Van Den Akker</span></div>
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<span face="Helvetica Neue, Arial, Helvetica, sans-serif" style="font-family: helvetica; font-size: x-small;"><span style="background-color: white;">Hikmet Gur: </span><span style="background-color: white;">fc phoenix</span></span></div>
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<span face="Helvetica Neue, Arial, Helvetica, sans-serif" style="font-family: helvetica; font-size: x-small;"><span style="font-size: xx-small;">George van den Handel:<span> </span></span><span style="background-color: white;"><span>fc phoenix</span></span></span></div>
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<span face="Helvetica Neue, Arial, Helvetica, sans-serif" style="font-family: helvetica; font-size: x-small;">Stoffel Boot</span><br />
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<span face="Helvetica Neue, Arial, Helvetica, sans-serif" style="font-family: helvetica; font-size: x-small;"><span style="font-size: xx-small;">Levent Kun</span>t</span><br />
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<span style="-webkit-font-kerning: none; color: #666666; font-kerning: none;">Some of our film stills:</span></div>
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<span style="-webkit-font-kerning: none; color: #666666; font-kerning: none;">(filmed by Eva Olthof, Helen Anna Flanagan, Phil Hession, Rick Peters, Gerwin Luijendijk, Javier Lloret, Sighle Bhreathnach-Cashell, Madison Bycroft, Tor Jonsson, Maria Witteveen, Bas Noordermeer, Lisanne Hoogerwerf, Kari Robertson, Mat Do, coordinated by Sebastien Seynaeve)</span></div>
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<div style="background-color: white; font-family: "Helvetica Neue"; font-size: 16px; font-stretch: normal; line-height: normal;">
<span style="-webkit-font-kerning: none; color: #666666; font-kerning: none;">‘Short Cut Tarwewijk’ is een project in het kader van het internationale uitwisselingsprogramma Staat van de Stad, ondersteund en gefaciliteerd door stichting Charlois ... aan het water, AIR Antwerpen, AIR_Frankfurt, Centrum voor Beeldende Kunst Rotterdam, Mondriaan Fonds, de stad Frankfurt, de Gemeente Rotterdam, de stad Antwerpen, de Vlaamse Gemeenschap, Vlaanderen & Nederland Eregast Frankfurter Buchmesse 2016.</span></div>
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<br />Unknownnoreply@blogger.comtag:blogger.com,1999:blog-4942194192480108747.post-17663150897898320512015-09-20T17:01:00.000+02:002016-04-14T16:51:46.934+02:00Het kunstwerk als document binnen een pedagogisch proces / The Artwork as a Document of Pedagogical Processes, Sarah Késenne<div class="separator" style="clear: both; text-align: center;">
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<i>nl:</i><i></i><br />
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<b>Het kunstwerk als
document binnen een pedagogisch proces</b></div>
<div lang="nl-BE" style="line-height: 150%; margin-bottom: 0cm;">
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<a href="https://www.blogger.com/blogger.g?blogID=4942194192480108747" name="_GoBack"></a>
In het kader van een stadsontwikkelingsproject in Gent waarvoor een
publieke opdracht is uitgeschreven, krijgt kunstenaar Stijn Van Dorpe
een paar minuten om zijn werk te presenteren. In het buurtcentrum
waar dit doorgaat bestaat het publiek uit een curator, kunstenaars,
ambtenaren, de projectontwikkelaar en enkele omwoners. Videobeelden
waarop een rapconcert uit Charleroi te zien is, voorziet de
kunstenaar van summiere commentaar. Er wordt ook een kast
ineengestoken tijdens de gefilmde performance. Van Dorpe, die van
opleiding schilder is, zal deze later ‘een esthetische, mooie
ervaring’ noemen. Intussen loopt in Netwerk Aalst de
tentoonstelling <i>Ideologie AUB! Een denkmodel</i>, met Stijn Van
Dorpes werk van het laatste jaar. Het kunstencentrum gebruikt op zijn
website het beeld van een man die op een perron zit te wachten met
een schilderij in zijn handen, en er met iemand over in gesprek
lijkt. De man is één van de verzamelaars die door Van Dorpe werden
uitgenodigd om een schilderij uit hun collectie mee te nemen naar het
station van Luik-Guillemins, als collectieve performance. Iemand uit
de groep verzamelaars zegt zich daarbij toch wat zorgen gemaakt te
hebben over de verzekering van de kunstwerken, ‘omdat hij vermoedt
dat de kunstenaar lid is van de communistische partij’.
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Lidkaart of niet, de
eerste reflex van kunstenaar Stijn Van Dorpe lijkt wel om de normale
gang van zaken in vraag te stellen, bijvoorbeeld de manier waarop men
over participatie denkt en praat binnen het neoliberale bestel. Dat
lijkt een aantal van zijn werken te verbinden: ‘A Bookcase’,
‘Luik-Guillemins’ en een klein schilderij zonder titel, alle drie
te zien op de tentoonstelling in Aalst. Toch kan je Van Dorpes
kunstwerken geen manifesten of doctrines noemen, daarvoor zijn de
relationele en postconceptuele strategieën in zijn werk te
doordacht, duidelijk het resultaat van opeenvolgende
vertaalprocessen. De kunstenaar noemt zijn werken zelf ‘documenten
binnen een pedagogisch proces’, en dat lokt de vraag uit wat het
betekent voor de positie van kunstenaar en kunstwerk.
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<h1 class="western" lang="nl-BE" style="margin-top: 0cm;">
<span style="font-size: small;">Mechanische
arbeid – creatieve arbeid
</span></h1>
<div style="line-height: 150%; margin-bottom: 0cm;">
Stijn Van Dorpe
kreeg de idee voor het werk ‘A Bookcase’ terwijl hij thuis zelf
drie boekenkasten monteerde en daarbij naar muziek luisterde. Hij
vond het interessant dat de muziek geen invloed had op de
uiteindelijke vorm van de gemonteerde kast. Vanuit deze premisse
nodigde hij vervolgens leerlingen van een vakschool houtbewerking uit
om deel te nemen aan een performance tijdens een residentie bij Hotel
Charleroi. Van Dorpe vroeg hen een kast te monteren in een oude
winkelgalerij van Charleroi, terwijl er tegelijkertijd naast hen een
rapgroep optrad. Op de tentoonstelling in Aalst wordt een film
getoond gebaseerd op deze performance. Hierin geeft de kunstenaar
eerst via een ondertiteling op zwart scherm uitleg bij de beelden,
daarna wordt de gefilmde performance zelf getoond. In de
projectieruimte staat ook een houten paneel met foto’s van de
performance. Tijdens de tentoonstelling in Netwerk Aalst werd de
performance ook herhaald, opnieuw met een optreden van plaatselijke
rappers en leerlingen uit een plaatselijke techniek- en
beroepsschool. Daarvan rest enkel nog de kast in de gang van het
kunstencentrum.
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<div style="line-height: 150%; margin-bottom: 0cm;">
Uit Van Dorpes
uitleg bij de film blijkt zijn fascinatie voor het verschil tussen
enerzijds de rappers die hun creativiteit de vrije loop laten en
anderzijds de mechanische, repetitieve handelingen van het monteren
van de kast: het onderscheid tussen kunst en werk, tussen ‘een
muziekconcert dat door de rapgroep als verzet tegen een normatieve
maatschappij gezien wordt’ en anderzijds het vervaardigen van een
serieel product binnen een kapitalistische logica. ‘A Bookcase’
kan je dus in eerste instantie zien als een reflectie over artistieke
arbeid binnen de creatieve industrie ten tijde van het postfordisme.
Waar minimalistische kunstenaars zich in de jaren zeventig en tachtig
nog met metaalarbeiders wilden verbinden om kunst te hersocialiseren,
werkt een relationele kunstenaar als Van Dorpe met de conceptuele,
performatieve en communicatieve strategieën van het postfordisme. Zo
leidt de juxtapositie van materiële kast en immaterieel rapconcert
ook tot een vergelijking van kunsthistorische arbeidsmodellen,
bijvoorbeeld tussen een toegepaste versus meer autonome praktijk.
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<div style="line-height: 150%; margin-bottom: 0cm;">
<span lang="en-US">Maar
het postfordisme is natuurlijk ook ‘work without end, not the end
of work‘. </span>De overgang van het kapitalistisch Fordisme, met
zijn geestdodend, repetitief werk aan de fabrieksband, naar de
‘creatieve economie’ van het postfordisme leidde dermate tot een
vervaging van de grens tussen werktijd en vrije tijd, dat we vandaag
in feite altijd aan het werk zijn. Sommige kunstsociologen menen
zelfs dat het post-medium karakter van 20<sup>ste</sup>-eeuwse kunst
<i>model</i> stond voor de immateriële, creatieve en intellectuele
arbeid van vandaag. <span lang="en-US">‘A typically artistic
sociology has become the pivot of economic vitality’, zegt
socioloog Pascal Gielen.</span><a class="sdendnoteanc" href="https://www.blogger.com/blogger.g?blogID=4942194192480108747#sdendnote1sym" name="sdendnote1anc"><sup>i</sup></a><span lang="en-US">
</span>Stijn Van Dorpe toont zich met ‘A Bookcase ‘dus
geïnteresseerd in hoe creativiteit zich situeert binnen de
neoliberale, kapitalistische omgeving, hoe ons esthetisch denken niet
losstaat van bepaalde machtsstructuren.</div>
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<h1 class="western" lang="nl-BE" style="margin-top: 0cm;">
<span style="font-size: small;">Deelnemers -
verzamelaars
</span></h1>
<div style="line-height: 150%; margin-bottom: 0cm;">
De kunstenaar zegt
daarbij gevoelig te zijn voor de sociale context van het project. De
performance speelt natuurlijk in op de verwachtingen rond
participatieve kunst door lokale, kwetsbare jongeren uit het
postindustriële Charleroi een forum te geven en door de rappers en
houtbewerkers samen te brengen. Ook bij een ander werk op de
tentoonstelling, een klein schilderij zonder titel, betrok de
kunstenaar jongeren uit Aalst, verbonden aan Groep INTRO. Dit is een
organisatie die jongeren ‘kansen wil bieden via o.a. vorming,
leerplichtonderwijs, jobcoaching, werkervaring en sociale economie’.
De kunstenaar vroeg hen een digitale foto uit hun leefwereld mee te
brengen. Het schilderijtje roept dus gelijksoortige vragen op als ‘A
Bookcase’, maar brengt ze in een meer intieme sfeer. Vervolgens gaf
Van Dorpe aan een professionele ‘fijnschilderes’ de opdracht om
deze beelden minutieus op zwarte achtergrond over te schilderen. Dit
toont de aandacht en het respect van Van Dorpe voor de beelden van
deze jongeren. ‘Het lijkt me een interessante gedachtenoefening om
binnen tien jaar een gesprek te hebben met die jongeren over het
project’, zei hij daarover.
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<div style="line-height: 150%; margin-bottom: 0cm;">
Vaak claimt men dat
participatieve kunst ‘een gemeenschapsvormend’ effect heeft door
ontmoetingen te creëren tussen deelnemers. Co-auteurschap als een
soort van ‘ethische machine’, een middel om de deelnemers te
‘activeren’ en te emanciperen. Ook breed maatschappelijk denkt
men steeds vaker dat kunst daarmee een ‘helende’ werking kan
hebben op het maatschappelijk weefsel. Participatieve projecten als
‘A Bookcase’ worden dan verondersteld de sociale cohesie tussen
deelnemers te versterken.
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<div style="line-height: 150%; margin-bottom: 0cm;">
Maar de kunstenaar
lijkt eerder verrast over het groepsgevoel binnen het project: ‘Je
merkt dat de jongeren in Aalst een leuke dag hadden doordat hun
prestaties geapprecieerd worden, maar eigenlijk zie ik dat meer als
een soort bijwerking’. Binnen ‘A Bookcase’ is dus een ander
mechanisme aan het werk dan de goedbedoelde, maar ook dwingende
gedachte van ‘gemeenschapsvormende’ kunst. ‘<span lang="nl-BE">Bij
participatieve kunst</span><span lang="nl-BE"> is er vaak sprake van
een sterk verwachtingspatroon met een duidelijk doel van sociale
</span><span lang="nl-BE">winst voor ogen’, aldus Van Dorpe. De
kunstenaar ziet p</span>articipatieve kunst dus als een soort
instituut, waarop je kritiek kan geven. Wat in feite een omkering is
van hoe men soms participatie inzet als institutionele kritiek op
‘een elitaire kunstwereld’.
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<div style="line-height: 150%; margin-bottom: 0cm;">
Ook
‘Luik-Guillemins’ speelt daarmee, het werk waarbij verzamelaars
met een schilderij ronddwalen in het station van Luik. Foto’s van
die performance op de tentoonstelling in Aalst tonen volgens de
kunstenaar ‘een beeldverhaal tegen de achtergrond van een
geometrische architectuur’. Tegelijk laat hij natuurlijk
afgeschermde, private kunstwerken naar de publieke ruimte van een
station reizen, een ‘sociale’ omgeving die toegankelijk is voor
iedereen. De werken zijn echter ook ‘vreemd’ op die plaats,
worden door niemand herkend, en blijven dus refereren aan de
exclusiviteit van het verzamelen van kunstwerken. ‘Kunst die buiten
de muren van de institutie treedt, is waardevol en zelfs
noodzakelijk’, aldus Van Dorpe. De foto’s van de performance
worden daarna opnieuw als een soort collectie of kabinet
tentoongesteld, en sommige verzamelaars kochten dat werk dan weer
aan. Van Dorpe vraagt zich daarover af of ‘de cirkel dan weer rond
is?’. Velen vinden dat kunst die kritiek uit op een elitaire en
commerciële kunstwereld al op voorhand gerecupereerd is (en haar
kritische waarde verliest), omdat ze toch altijd deel is van het
systeem van de kunstmarkt. Maar in plaats van steeds opnieuw deze
logica te willen onthullen, ziet Van Dorpe wel een opening. ‘Doordat
de verzamelaars zelf in het werk verschijnen, worden ze misschien
weer lege betekenaars’.
</div>
<div style="line-height: 150%; margin-bottom: 0cm;">
<br /></div>
<div style="line-height: 150%; margin-bottom: 0cm;">
Het verzet van Van
Dorpes werken ligt dus op een ander vlak dan ‘gemeenschapsvorming’,
bijvoorbeeld doordat ze net reageren tegen een al te gemakkelijk
consumeerbare positie. Participatie mag dan door het publiek herkend
worden als eigentijdse artistieke praktijk, de werken zelf blijven
tegelijk verwarrend, opaak en wat bizar. ‘Wat doet die boekenkast
daar?’, denk je de eerste keer bij het zien van ‘A Bookcase’.
Veel bezoekers van de performance in Aalst dachten dat de kast deel
was van de opbouw van een andere tentoonstelling. En alleen al zo’n
participatieproces als kunstwerk tonen binnen een professionele
kunstruimte, is voor sommigen uit de sociale of artistieke sector
misschien taboe. En wat te denken van de
‘collectioneurs-participanten’ binnen ‘Luik-Guillemins’? Als
eenmalige performances voldoen dit werk en ‘A Bookcase’ evenmin
aan de vraag van langdurige samenwerking en begeleiding van
deelnemers, omdat dat meer ‘ethisch’ zou zijn. Ze stellen dus
niet onmiddellijk een gemeenschapsvormende participatie voor.
</div>
<div style="line-height: 150%; margin-bottom: 0cm;">
<br /></div>
<h1 class="western" lang="nl-BE" style="margin-top: 0cm;">
<span style="font-size: small;">Consensus –
dissensus
</span></h1>
<div style="line-height: 150%; margin-bottom: 0cm;">
‘Ik wil de breuk
niet als spel centraal stellen, maar haar <span lang="nl-BE">opnieuw
als politieke ruimte (durven) opeisen’, zegt Van Dorpe. De
kunstenaar wordt geïnspireerd door de ideeën van de Franse filosoof
Jacques Rancière, die het politieke vooral verbindt met het</span>
‘lege’ moment waarop gekende betekenissen niet meer geldig zijn.
In plaats van het bestendigen van de consensus binnen de bestaande
gemeenschap, gaat het dus net om het doorbreken van vaste plaatsen en
patronen daarbinnen. In plaats van minderheidsgroepen te integreren
volgens de conventies van onze maatschappij, ligt het politieke
volgens Rancière eerder bij wat daarvan afwijkt, ‘dissensus’.
Dat betekent voor Stijn Van Dorpe de ruimte tussen kunst en arbeid
exploreren, spanningen zoeken tussen de verschillende werken op de
tentoonstelling, gaten slaan in het emancipatie-recept van
participatie. ‘Ik geloof sterk <span lang="nl-BE">in de
emancipatorische kracht en het kritisch potentieel van een artistieke
traditie van deconstructie, het tastbaar maken van lege plaatsen als
‘vreemde’ maar tegelijk ‘vertrouwde’ niet- bezette werelden
die alle kansen blijven bieden’, zegt de kunstenaar. M</span>et
andere woorden, het opschorten van betekenis als een moment met
emancipatorisch potentieel. Het kleine schilderij zonder titel,
vertrok van een fascinatie voor het verschil tussen twee soorten
werelden of ‘schermen’, twee manieren van representatie en
omgang met het beeld. Enerzijds de beelden van de jongeren uit Aalst,
die zich kortstondig engageerden door een foto te selecteren.
Anderzijds de traagheid en precisie van het fijnschilderen, dat voor
Van Dorpe verwijst naar de origine van de schilderkunst.
</div>
<div style="line-height: 150%; margin-bottom: 0cm;">
<br /></div>
<h1 class="western" lang="nl-BE" style="margin-top: 0cm;">
<span style="font-size: small;">Script -
uitvoering
</span></h1>
<div style="line-height: 150%; margin-bottom: 0cm;">
De kast en het
concert van ‘A Bookcase’ refereren in die zin ook aan het
verschil tussen vorm en concept binnen het artistieke proces, tussen
script en uitvoering. De uitleg die Van Dorpe meegeeft in de
ondertiteling wordt door het rapconcert perfect afgebroken in het
midden van de film. Tekst en beeld staan symmetrisch tegenover
elkaar, zonder dat het ene een illustratie is van het andere. Dit
lijkt typerend voor hoe Van Dorpes kunstwerken constant in spanning
staan tot een theoretisch denken. ‘<span lang="nl-BE">Ik vind het
fascinerend hoe iets ontstaat: gedachten die opkwamen </span>doordat
ik zelf die <span lang="nl-BE">boekenkast maakte’. Die doorgedreven
conceptualisering laat zich ook voelen in hoe de </span>houtbewerkers
en rappers van ‘A Bookcase’ wat ongemakkelijk in de winkelgalerij
en de gang van het kunstencentrum staan. Lichamen die zich moeilijk
verhouden tot de publieke ruimte rondom hen, die eerder een script
uitvoeren, dan dat ze verdwijnen in de context. En het sculpturale
element binnen de performance blijft een boekenkast, een container
van ideeën. Er ontsnapt in Van Dorpes werken dan ook altijd iets aan
het conceptuele raster.
</div>
<div style="line-height: 150%; margin-bottom: 0cm;">
<br /></div>
<h1 class="western" lang="nl-BE" style="margin-top: 0cm;">
<span style="font-size: small;">Document -
documentatie
</span></h1>
<div style="line-height: 150%; margin-bottom: 0cm;">
Veel van deze
kwesties lijken samen te komen in Van Dorpes uitspraak dat ‘een
kunstwerk op haar best is als document binnen een educatief proces’.
Maar wat impliceert zo’n uitspraak? Een belangrijke vraag daarbij
is of de werken ‘documenten’ zijn, als weergave van een
performance met deelnemers, of eerder ‘documentatie’ binnen een
leerproces dat ook het publiek van de tentoonstelling betrekt? En
‘verdwijnt het object dan in de operationele en interveniërende
methoden en procedures van het relationele kunstwerk’? <a class="sdendnoteanc" href="https://www.blogger.com/blogger.g?blogID=4942194192480108747#sdendnote2sym" name="sdendnote2anc"><sup>ii</sup></a>
</div>
<div style="line-height: 150%; margin-bottom: 0cm;">
<br /></div>
<div style="line-height: 150%; margin-bottom: 0cm;">
Een document is in
de eerste plaats een (meestal) fotografische of filmische getuigenis
of registratie van een gebeuren uit het verleden, een ‘esthetisch
residu’, een index, spoor van iets anders. Zoals ‘A Bookcase’
en ‘Luik-Guillemins’ specifieke performances in herinnering
brengen, staat het kunstwerk als document dan voor de functies van
archiveren en bewaren. Of zoals curator Enwezor Okwui het zegt: het
document gaat over ‘de relatie tussen het kunstwerk en haar
verleden’. <a class="sdendnoteanc" href="https://www.blogger.com/blogger.g?blogID=4942194192480108747#sdendnote3sym" name="sdendnote3anc"><sup>iii</sup></a>
Die indexicale functie is ook aanwezig bij <span lang="nl-BE">het
schilderijtje, waarbij Van Dorpe de opdracht van het fijnschilderen
gaf vanuit een plezier in ‘het nuchtere overnemen van de
schilderkunst’. </span>
</div>
<div style="line-height: 150%; margin-bottom: 0cm;">
<br /></div>
<div style="line-height: 150%; margin-bottom: 0cm;">
Documenten
deconstrueren daarbij als ‘sporen van performances’ misschien wel
het kunstwerk. Bij veel participatieve kunst wordt gezegd dat ‘het
participatieve proces het kunstwerk is’, dus niet het document
achteraf, dat voor sommigen een verraad is ten opzichte van het
authentieke participatieve (emancipatorische) proces. Het heeft dan
ook soms iets nostalgisch als verzamelaars of musea rekwisieten van
participatieve kunstprojecten kopen. Van Dorpe was in eerste
instantie niet van plan om de performance van ‘A Bookcase’ in
Charleroi te filmen, waardoor hij achteraf beroep moest doen op
beeldmateriaal van anderen. Zo zou je inderdaad een soort ‘flauwheid’
uit de arme esthetiek van de installatie kunnen aflezen: de
onspectaculaire, efemere amateurbeelden, de galmende akoestiek, het
houten paneel. ‘Documenten die zich niet willen laten consumeren’,
zoals de foto’s van ‘Luik-Guillemins’ ook niet ingekaderd
werden als verkoopbare artefacten.
</div>
<div style="line-height: 150%; margin-bottom: 0cm;">
<br /></div>
<div style="line-height: 150%; margin-bottom: 0cm;">
Maar Stijn Van
Dorpe’s werken ondermijnen ook de verwijzende functie van het
documentaire beeld<span lang="nl-BE">. Vooral door zelf ‘het ding’
te zijn. Zijn installaties bevatten bijvoorbeeld </span>een sterk
sculpturaal karakter. Bijvoorbeeld de kast en het paneel van ‘A
Bookcase’. Bij het schilderijtje de aanwezigheid van de menselijke
figuur en de meerdere beeldlagen boven elkaar. Of bij
‘Luik-Guillemins’ de schilderijen die als objecten worden
meegedragen in het station. Het zijn ook allemaal driedimensionale
‘beelden-in-beelden’. Waar sommige participatieve projecten het
kunstobject uit de weg willen gaan, zegt Van Dorpe dan ook dat zijn
documenten ‘op weg zijn naar het kunstobject’. Dat lees je in de
titel (‘book-case’, het boek als sculptuur), maar ook in hoe de
kunstenaar het belangrijk vond dat het paneel met de foto’s ook een
‘ding’ moest blijven. ‘Ik wou een fysiek aspect van de
performance laten zien: de structuur, constructie, het materiaal van
het hout’. Van Dorpe is dus zeker geen typische ‘postconceptueel’
die de gedachte helemaal autonoom laat worden. Zo wordt de boekenkast
van ‘A Bookcase’ door het werk minder generiek of serieel
gemaakt, veranderd in een ambachtelijk, uniek en autonoom object. De
rappers eren het meubelstuk op het einde van de performance dan ook
gepast: ‘Ceci n’est pas une armoire Ikea!’.
</div>
<div style="line-height: 150%; margin-bottom: 0cm;">
<br /></div>
<div style="line-height: 150%; margin-bottom: 0cm;">
Maar Stijn Van Dorpe
zegt uiteindelijk geen onderscheid te maken tussen objecten en
conceptuele strategieën. En uiteindelijk erkennen wel veel
kunstenaars die met participatie werken het belang van het tastbaar
kunstwerk. <span lang="en-US">‘The critical role a tangible art
object can have as an ambassador for a complex, time based project’,
zegt </span><span lang="en-US">kunstenaar </span><span lang="en-US">M</span><span lang="en-US">arc
Dion.</span><a class="sdendnoteanc" href="https://www.blogger.com/blogger.g?blogID=4942194192480108747#sdendnote4sym" name="sdendnote4anc"><sup>iv</sup></a><span lang="en-US">
Of Martha Rosler: </span><span lang="en-US">‘The a</span><span lang="en-US">rt
work can serve as a catalytic node for discussion and organizing’</span><span lang="en-US">.</span><a class="sdendnoteanc" href="https://www.blogger.com/blogger.g?blogID=4942194192480108747#sdendnote5sym" name="sdendnote5anc"><sup>v</sup></a><span lang="en-US">
</span><span lang="nl-BE">Daarmee raakt Van Dorpe niet alleen aan het
document als weergave van een voorbije performance, maar ook aan het
kunstwerk als </span>‘documentatie’ binnen een pedagogisch
leerproces. De nadruk ligt hierbij op de ‘hanteerbaarheid’ van
het kunstwerk binnen een denk -of gespreksproces, en niet op ‘de
relatie tussen het kunstwerk en haar verleden’.</div>
<div style="line-height: 150%; margin-bottom: 0cm;">
<br /></div>
<h1 class="western" lang="nl-BE" style="margin-top: 0cm;">
<span style="font-size: small;">Schoolbord –
tentoonstelling
</span></h1>
<div style="line-height: 150%; margin-bottom: 0cm;">
Stijn Van Dorpe is
helder over waartoe die documenten moeten dienen: ‘de
tentoonstelling is een schoolse situatie’. Elk beeld hangt bij
manier van spreken met punaises op een schoolbord. Dat schoolbord is
zichtbaar in het houten paneel met begeleidende uitleg bij ‘A
Bookcase’, de museummuur bij ‘Luik-Guillemins’ ‘als een map
van documenten die je open plooit’, en misschien wel het meeste
helder bij het schilderijtje. Veel kunstenaars staan nochtans
weigerachtig ten aanzien van de pedagogische kwaliteiten van kunst.
En dat zeker ten opzichte van de didactiek die heerst in veel
participatieve projecten, zoals die bijvoorbeeld aanwezig is in de
uitspraak van de Braziliaanse kunstenaar Ricardo Basbaum, die het
subject op bijna vermoeiende wijze wil ‘mobiliseren, heruitvinden
en betrekken’.<a class="sdendnoteanc" href="https://www.blogger.com/blogger.g?blogID=4942194192480108747#sdendnote6sym" name="sdendnote6anc"><sup>vi</sup></a>
Van Dorpe was ook geïnteresseerd om met leerlingen uit het zevende
jaar houtbewerking uit Charleroi en Aalst te werken ‘omdat het een
overgangsperiode is tussen leren en werken’. Maar Van Dorpe heeft
ook nog een andere benadering van het pedagogische: ‘Je zou kunnen
zeggen dat ik een schoolse situatie creëer, als een ruimte waarin
een denken en praten kan plaatsvinden’. En via Rancière, die de
parallel maakt tussen leerling en kijker, geeft dat ook aanleiding
tot een emancipatorisch proces bij deelnemers en publiek. Rancière’s
idee van pedagogische emancipatie gaat niet over kennisoverdracht
omdat je dan volgens hem alleen maar de ongelijkheid reproduceert.
<span lang="nl-BE">‘Leren is voor Rancière inherent politiek’,
zegt Van Dorpe, ‘het is de breuk die een ander denken mogelijk
maakt.’ I</span>n de plaats van het activeren van toeschouwers,
ziet de Franse filosoof emancipatorisch potentieel bij de kijker als
vertaler, die in staat is tot eigen vertalingen. De <i>poesis</i> van
de kunst als een open interpretatieruimte, die een individueel denken
of maatschappelijk gesprek kan uitlokken, en die daardoor een
emancipatorische belofte in zich draagt. In plaats van
gemeenschapsvorming, betekent emancipatie dan dat iedereen in staat
is tot een eigen interpretatie van het kunstwerk, een subjectieve
ervaring van ‘iets kunnen’. In de film en op de foto’s zie je
dat de leerlingen en rappers hun best doen om een bijdrage te leveren
aan het kunstwerk, zeker in confrontatie met het publiek. Daarbij
gaan zowel rappers als leerlingen, op hun eigen manier,
geconcentreerd te werk: de houtbewerkers met rustige en systematische
precisie, de rapgroep met energieke, speelse daadkracht. Maar is dat
dan niet gewoon wat de maatschappij van hen verwacht? ‘De
deelnemers zijn bevoorrechte toeschouwers van een rol die ze
natuurlijk ook buiten het kunstwerk spelen. Ze zien dat ze ook ‘met
iets kunnen beginnen’. Maar door deze rol binnen een kunstwerk of
een tentoonstelling met andere elementen te verbinden, worden het
documenten, waarbij die oorspronkelijke betekenis niet meer alleen
staat‘.
</div>
<div style="line-height: 150%; margin-bottom: 0cm;">
<br /></div>
<h1 class="western" lang="nl-BE" style="margin-top: 0cm;">
<span style="font-size: small;">Open kast –
gesloten kast
</span></h1>
<div style="line-height: 150%; margin-bottom: 0cm;">
‘Die school moet
ook niet al te hard georganiseerd worden, ze moet niet altijd iets
opleveren’, zegt Stijn Van Dorpe. De vertalende kijker van
Rancière impliceert dus dat je als kunstenaar <span lang="nl-BE">geen
</span>effect op de toeschouwer kan gaan plannen. Een cruciaal
element is het schoolmateriaal tussen meester en leerling, het
kunstwerk dat in het midden ligt tussen kunstenaar en kijker: de
leerlingen leren ‘via’ het boek, ze zijn gelijk omdat ze het
allen over dezelfde zaak hebben. Het kunstwerk maakt het mogelijk om
te ontsnappen aan de logica dat je hetzelfde moet voelen en denken
als de kunstenaar.<a class="sdendnoteanc" href="https://www.blogger.com/blogger.g?blogID=4942194192480108747#sdendnote7sym" name="sdendnote7anc"><sup>vii</sup></a>
Door het open, onvoorspelbare karakter van een werk wordt vermeden
dat vaste categorieën en maatschappelijke labels operationeel
worden. ‘De onbeslistheid van de ervaring lokt uit dat je de
bestaande manier waarop de wereld georganiseerd is, in vraag stelt’.
<a class="sdendnoteanc" href="https://www.blogger.com/blogger.g?blogID=4942194192480108747#sdendnote8sym" name="sdendnote8anc"><sup>viii</sup></a>De
boekenkast is met andere woorden een archief, ‘er kan altijd iets
aan toegevoegd worden’, zegt Stijn Van Dorpe. Een document is dus
een open werk omdat het vragen oproept, geen definitieve vorm
aanneemt. <span lang="nl-BE">En k</span>unstwerken als ‘flauwe’
documenten lijken het meest geschikt om die rol te spelen, namelijk
het openhouden van de presentatie.
</div>
<div style="line-height: 150%; margin-bottom: 0cm;">
<br /></div>
<div style="line-height: 150%; margin-bottom: 0cm;">
Het ‘kunstwerk als
document binnen een pedagogisch proces’ stelt wel de vraag of het
kunstwerk dan louter een middel is. Bij het maken van de
tentoonstelling was Van Dorpe vooral begaan met de kunstwerken,
speelde het sociale contact geen rol. ‘Luik-Guillemins’ toont
bijvoorbeeld scherp dat het hem niet alleen ging om de treinrit en
het station, maar dat de performance zeker ook in functie stond van
het kunstwerk achteraf.
</div>
<div style="line-height: 150%; margin-bottom: 0cm;">
Volgens Stijn Van
Dorpe zou je daar dan ook ‘geen slechte tekening kunnen leggen’.
‘Misschien heeft een interessant pedagogisch document ook wel de
kwaliteiten van een kunstwerk’. Het kunstwerk als pedagogisch
document is dus zeker méér dan iets wat toevallig voor handen komt.
Daarmee behoort Van Dorpe tot een generatie kunstenaars die met
participatie werken maar tegelijk sterk geloven in de specifieke
plaats die kunst maatschappelijk bekleedt, en het emancipatorisch
potentieel dat zij in zich draagt.
</div>
<div style="line-height: 150%; margin-bottom: 0cm;">
<br /></div>
<h1 class="western" lang="nl-BE" style="margin-top: 0cm;">
<span style="font-size: small;">Auteur –
meester
</span></h1>
<div style="line-height: 150%; margin-bottom: 0cm;">
Maar wie is de
auteur van ‘het kunstwerk als pedagogische document’? De titel
van de tentoonstelling <i>Ideologie AUB! Een denkmodel</i> geeft op
dat vlak alleszins een complex beeld, ergens tussen bevel en vraag
in, als een pleidooi om een positie in te nemen. Hoe valt die
autoritaire stem te lijmen met het open karakter van Van Dorpes
documenten? Leidt de problematisering van het modernistische
kunstobject dan niet tot een afwijzing van de singuliere, authentieke
auteur?</div>
<div style="line-height: 150%; margin-bottom: 0cm;">
</div>
<div style="line-height: 150%; margin-bottom: 0cm;">
Het werk van Van
Dorpe is natuurlijk ook wél door en door postconceptueel, onthecht
van het object, haast compleet gebaseerd op de keuzes van auteur.
‘Mijn kunstwerken mogen voor mij compleet verdampen, onzichtbaar
blijven’. De ‘documenten’ van Van Dorpe zijn dan ook sterk
gebaseerd op een conceptuele attitude van operationele,
ervaringsgerichte en organisatorische methodes, het vormgeven van
discours. Maar die haast ‘curatoriële’ positie wringt toch wel
met de nederige positie van de kunstenaar die men vraagt bij
participatieve processen, ‘an artistic collapse’, zoals
kunstenaar Liam Gillick het dogma van co-auteurschap eens beschreef.
<a class="sdendnoteanc" href="https://www.blogger.com/blogger.g?blogID=4942194192480108747#sdendnote9sym" name="sdendnote9anc"><sup>ix</sup></a>
Van Dorpe zegt op een bepaald moment de positie van de kunstenaar
zeker als ‘te absoluut’ ervaren te hebben. Auteurskritiek was
vanuit zijn achtergrond als schilder op een bepaald moment een enorme
drijfveer om dingen anders te gaan doen. Hij voelde zich aangetrokken
tot ‘de romantische idee van het verdwijnende auteurschap’. In ‘A
Bookcase’ deelt hij op verschillende manieren het auteurschap met
de deelnemers: bijvoorbeeld door in de ondertitelingstekst de
productiemedewerkers van het werk met naam en toenaam te vermelden,
door zich te laten leiden door de muzikale voorkeur van de
houtbewerkers van Aalst, en zijn er ook meerdere auteurs betrokken
bij het schilderijtje (de jongeren, de fijnschilderes) en
‘Luik-Guillemins’(de verzamelaars, de fotograaf).
</div>
<div lang="nl-BE" style="line-height: 150%; margin-bottom: 0cm; orphans: 0; widows: 0;">
<br /></div>
<h1 class="western" lang="nl-BE" style="margin-top: 0cm;">
<span style="font-size: small;">Naast elkaar
leggen
</span></h1>
<div style="line-height: 150%; margin-bottom: 0cm;">
<span lang="nl-BE">D</span>e
auteur lijkt zich op een bepaalde manier wel aan het werk ‘A
Bookcase’ te onttrekken door verschillende elementen naast elkaar
te tonen, zonder montage. Gelijktijdig staan ‘mechanische’
lichamen naast ‘creatieve’ lichamen, net zoals film, tekst,
paneel, kast verschillende onderdelen van de installatie zijn. Ook de
expo vouwt zich open als een archief van documenten waartussen
conflicten ontstaan. Deze dialoog tussen documenten maakt de grenzen
tussen de kunstwerken op de tentoonstelling flou. Omgekeerd breidt de
schoolse situatie van de expo zich uit tot de individuele werken.
<span lang="nl-BE">Deze pedagogische methode laat de betekenis van ‘A
Bookcase’ braak liggen. De kijker wordt uitgenodigd te vergelijken,
na te denken en te toetsen aan het eigen referentiekader.
Pedagogische emancipatie betekent voor Van Dorpe dan ook dat de
kijker niet naar een </span><span lang="nl-BE">valse illusie van de
werkelijkheid geleid wordt. </span><span lang="nl-BE"> ‘It’s a
method that </span><span lang="nl-BE">first shows the thing and asks
what constitutes its specificity, and what makes is specificity
possible and thinkable’, zegt Rancière over zijn methode van
gelijkheid.</span><a class="sdendnoteanc" href="https://www.blogger.com/blogger.g?blogID=4942194192480108747#sdendnote10sym" name="sdendnote10anc"><sup>x</sup></a><span lang="nl-BE">
Daarbij vertrekt hij van de veronderstelling van het ‘kunnen
begrijpen’. Dat tonen, kijken, vergelijken kan leiden tot
</span>onverwachte verbindingen en associaties. Van Dorpes rol is dan
beperkt tot het beginnen van een situatie, het aankondigen, het
uittekenen van de krijtlijnen. ‘Ik zag het als een les waarin ik
eigenlijk niets zeg, ik vel geen oordeel’. Net als zijn
‘documenten’ ‘op weg zijn naar het object’ is de leraar en
auteur in Van Dorpe intrinsiek twijfelend. Zo is hij niet te beroerd
om de paradoxen in zijn werk ook te bevragen. <span lang="nl-BE">‘D</span>e
lege plek is wel al geïnstitutionaliseerd, een verkoopstactiek
geworden binnen de neoliberale rangen van de hedendaagse kunst’.
</div>
<div style="line-height: 150%; margin-bottom: 0cm;">
<br /></div>
<h1 class="western" lang="nl-BE" style="margin-top: 0cm;">
<span style="font-size: small;">Auteur -
personage
</span></h1>
<div style="line-height: 150%; margin-bottom: 0cm;">
Maar heeft de
kunstenaar dan niet ‘zijn eigen gedacht’? Anders dan bij veel
participatieve werken, treedt de stem van auteur Stijn Van Dorpe in
‘A Bookcase’ wel zeer prominent op de voorgrond, namelijk via de
ondertiteling. De kijker wordt verplicht de hele film uit te zitten,
van begin tot einde, het heeft geen zin enkel een fragment te zien.
Van Dorpe zegt dat hij zich op een bepaald moment begon te storen aan
het motief van de ‘verdwijnende auteur’, het te veel een
zelfreferentiële kwestie binnen de kunst begon te vinden. Wat
betekent hier dan deze ondertiteling in de film, waarbij werkelijk
àlles uit de doeken gedaan wordt, als een totale demystificatie:
persoonlijke aanleiding en intenties, informatie over productie,
proces, obstakels, argumenten, concepten en het publiek tot en met
een eigen analyse van het werk? Van Dorpe neemt daarmee <span lang="nl-BE">zelf
de bemiddelende rol op van musea, educatieve diensten en curatoren,
om een directe relatie met het publiek aan te gaan. </span>Door het
script deel van het werk te maken gaat de tentoonstelling duidelijk
in op de kwestie van de interventie van de kunstenaar binnen de
relationele esthetiek.
</div>
<div style="line-height: 150%; margin-bottom: 0cm;">
<br /></div>
<div style="line-height: 150%; margin-bottom: 0cm;">
De vraag in welke
mate de kunstenaar de participatieve processen onaangetast laat,
lijkt zich daarbij te kantelen naar de vraag welke grenzen er gesteld
worden. De stem van Van Dorpe wijst zeer duidelijk op een <span lang="nl-BE">curatoriële
rol waarbij het erom gaat om documenten te bestellen, positioneren,
classificeren en ze te laten dialogeren. H</span>et kunstwerk als
‘organiserende regel’, of als ‘begrensd’ archief.
</div>
<div style="line-height: 150%; margin-bottom: 0cm;">
</div>
<div style="line-height: 150%; margin-bottom: 0cm;">
Maar in ‘A
Bookcase’ grijpt Van Dorpe met de overdrijving van de uitleg van de
meester kritisch in op de interveniërende rol van de kunstenaar en
de idee dat die altijd het discours over het werk domineert. Wat als
je de kijker niets meer te raden laat over de bedoelingen van de
kunstenaar? Blokkeert dit dan de creatieve vertaling van de kijker of
maakt het die net mogelijk? Volgens Rancière speelt de meester bij
de pedagogische emancipatie ook een rol door de leerlingen te
enthousiasmeren, hen aan te manen zich te verhouden tot het
gemeenschappelijk schoolmateriaal, zodat ze ‘iets willen kunnen’.
In die zin lijkt Van Dorpe met de ondertitelingstekst de
betekenisconstructie niet af te sluiten, maar zijn eigen ervaring van
‘willen’ en ‘kunnen vertalen’ te demonstreren, waarbij hij
zelf de positie van de toeschouwer inneemt. ‘De idee achter ‘A
Bookcase’ bestaat erin dat ik een nieuw element toevoeg, namelijk
de positie van de waarnemer. Het klopt dus niet helemaal dat die
documenten zich tussen mij en het publiek bevinden, als ik zelf
evengoed toeschouwer ben’. Van Dorpe tekent dus een script uit voor
een performance met deelnemers om dan als toeschouwer te kijken hoe
het verder loopt. Daarbij positioneert hij zich als kunstenaar
duidelijk als een personage tussen <span lang="nl-BE">andere
personages. Op die manier ondermijnt hij de kwestie van de
auteurskritiek: </span>‘Het is misschien relativerender om te
verschijnen net als de anderen verschijnen’. Zo is er in ‘A
Bookcase’ sprake van een zelfbewuste omgang met en (geënsceneerde)
vernietiging van het eigen auteurschap, in een spanning tussen
generositeit en overbodigheid. En de interveniërende rol van de
kunstenaar als curator lijkt daarbij niet in tegenspraak met de open
vorm van het document.
<br />
<br /></div>
<div id="sdendnote1">
<div style="margin-bottom: 0cm; page-break-before: always;">
<a class="sdendnotesym" href="https://www.blogger.com/blogger.g?blogID=4942194192480108747#sdendnote1anc" name="sdendnote1sym">i</a><sup> </sup>
<span lang="en-US">Gielen, P., (2009) The murmuring of the artistic
multitude, Valiz, Amsterdam, 263 p. </span>
</div>
</div>
<div id="sdendnote2">
<div style="margin-bottom: 0cm; page-break-before: always;">
<a class="sdendnotesym" href="https://www.blogger.com/blogger.g?blogID=4942194192480108747#sdendnote2anc" name="sdendnote2sym">ii</a><sup> </sup>
<span lang="en-US">Decter, J., Draxler, H. (2014), Exhibition as
social intervention ‘Culture in action’ 1993, Exhibition
histories, After all books, Londen, 224 p. </span>
</div>
</div>
<div id="sdendnote3">
<div style="margin-bottom: 0cm; page-break-before: always;">
<a class="sdendnotesym" href="https://www.blogger.com/blogger.g?blogID=4942194192480108747#sdendnote3anc" name="sdendnote3sym">iii</a><sup>E</sup><span style="font-family: "helvetica" , serif;"><span style="font-size: small;"><span lang="en-US">
</span></span></span>International Center of Photography (New York -
United States), Steidl, 264 p.
</div>
</div>
<div id="sdendnote4">
<div style="margin-bottom: 0cm; page-break-before: always;">
<a class="sdendnotesym" href="https://www.blogger.com/blogger.g?blogID=4942194192480108747#sdendnote4anc" name="sdendnote4sym">iv</a><sup> </sup>
<span lang="en-US">Decter, J., Draxler, H. (2014), op. cit. </span>
</div>
</div>
<div id="sdendnote5">
<div style="margin-bottom: 0cm; page-break-before: always;">
<a class="sdendnotesym" href="https://www.blogger.com/blogger.g?blogID=4942194192480108747#sdendnote5anc" name="sdendnote5sym">v</a><sup> </sup>
Rosler, Martha (ed.) (1998) If You Lived Here: The City in Art,
Theory, and Social Activism : A Project by Martha Rosier
(Discussions in Contemporary Culture), New press, 312 p.
</div>
</div>
<div id="sdendnote6">
<div style="margin-bottom: 0cm; page-break-before: always;">
<a class="sdendnotesym" href="https://www.blogger.com/blogger.g?blogID=4942194192480108747#sdendnote6anc" name="sdendnote6sym">vi</a><sup> </sup>
<span lang="en-US">Basbaum, Ricardo (2011) ‘Post participatory
participation’, in: Afterall, december nr.28, Central Saint
Martins College of Art and Design, London </span>
</div>
</div>
<div id="sdendnote7">
<div style="margin-bottom: 0cm; page-break-before: always;">
<a class="sdendnotesym" href="https://www.blogger.com/blogger.g?blogID=4942194192480108747#sdendnote7anc" name="sdendnote7sym">vii</a><sup> </sup><span style="font-family: "helvetica" , serif;"><span style="font-size: small;"><span lang="en-US">
</span></span></span>Masschelein, Jan, Simons, Maarten (2013), ‘Het
atelier als autonome pedagogische plek’ in: Autonomie als waarde.
<span lang="fr-BE">Dillema’s in kunst en onderwijs, Valiz,
Amsterdam, 160 p. </span>
</div>
</div>
<div id="sdendnote8">
<div style="margin-bottom: 0cm; page-break-before: always;">
<a class="sdendnotesym" href="https://www.blogger.com/blogger.g?blogID=4942194192480108747#sdendnote8anc" name="sdendnote8sym">viii</a><sup> </sup>
op.cit.
</div>
</div>
<div id="sdendnote9">
<div style="margin-bottom: 0cm; page-break-before: always;">
<a class="sdendnotesym" href="https://www.blogger.com/blogger.g?blogID=4942194192480108747#sdendnote9anc" name="sdendnote9sym">ix</a><sup> </sup>
<span lang="fr-BE">Meade, Fionn (2014) ‘Spaces of critical
exchange’, in : Mousse contemporary art magazine, 4-9-2014,
22 p. , http://moussemagazine.it/articolo.mm?id=838</span></div>
</div>
<a class="sdendnotesym" href="https://www.blogger.com/blogger.g?blogID=4942194192480108747#sdendnote10anc" name="sdendnote10sym">x</a><sup> </sup>
<span lang="en-US">Davis, O. (ed.) (2013) Rancière Now. Current
perspectives on Jacques Ranciere, Polity press, Cambridge, 250 p.</span><br />
<div id="sdendnote10">
<div style="margin-bottom: 0cm;">
<br /></div>
<div style="margin-bottom: 0cm;">
<br /></div>
<div style="margin-bottom: 0cm;">
<br /></div>
<div style="margin-bottom: 0cm;">
<i>eng:</i></div>
<div style="margin-bottom: 0cm;">
<i><br /></i></div>
<div style="line-height: 150%; margin-bottom: 0cm;">
<b>The
Artwork as a Document of Pedagogical Processes </b><i>(translated by Jonathan William Beaton)</i></div>
<div style="line-height: 150%; margin-bottom: 0cm;">
<br /></div>
<div style="line-height: 150%; margin-bottom: 0cm;">
In the
context of a publicly-commissioned urban development project in the
city of Ghent, artist Stijn Van Dorpe is given several minutes to
present his work. In the community centre where the presentation is
taking place, the audience consists of a curator, artists, city
officials, the project developer and a number of local residents. The
artist provides commentary on video footage depicting a rap concert
in Charleroi. During the filmed performance, a bookcase is also
assembled. Van Dorpe, a formally trained painter, will later refer to
this as ‘an aesthetic and beautiful experience’. The exhibition
<i>Ideologie AUB! Een denkmodel</i>
(‘Ideology, please! A model of thought’) is currently running at
Netwerk Aalst with Stijn Van Dorpe’s work from the past year. On
its website, the arts centre shows a picture of a man waiting on a
train platform with a painting in his hands, appearing to be talking
about it with someone. The man is one of the collectors invited by
Van Dorpe to bring a painting from their collection to
Liège-Guillemins railway station as part of a collective
performance. Someone from this group of collectors admits having had
some concern about the insurance of the artworks, because he
‘presumed that the artist was a member of the Communist Party’.</div>
<div style="line-height: 150%; margin-bottom: 0cm;">
<br /></div>
<div style="line-height: 150%; margin-bottom: 0cm;">
Communist
or not, Van Dorpe’s first reflex seems to be to question the status
quo, e.g., the way people think about participation and how people
talk about it within neoliberalism. This is a common thread in a
number of his works. Three are on exhibition in Aalst: <i>A
Bookcase, Luik-Guillemins</i> and a small
untitled painting. And yet Van Dorpe’s artworks can’t be called
manifestos or doctrines; the relational and post-conceptual
strategies in his work are too well considered for that – clearly
the result of a string of translation processes. The artist himself
refers to his works as ‘documents of a pedagogical process’,
which leads one to question what this means for the position of
artist and artwork.</div>
<div style="line-height: 150%; margin-bottom: 0cm;">
<br /></div>
<div style="line-height: 150%; margin-bottom: 0cm;">
</div>
<h1 class="western" style="margin-top: 0cm;">
<span style="font-size: small;">Mechanical
labour – creative labour</span></h1>
<div style="line-height: 150%; margin-bottom: 0cm;">
Stijn
Van Dorpe got the idea for the work <i>A Bookcase</i>
while assembling three bookcases at home and at the same time
listening to music. He found it interesting that the music had no
influence on the ultimate form of the assembled bookcase. With this
premise, he invited students of a vocational school for woodworking
to take part in a performance during a residency at Hotel Charleroi.
Van Dorpe asked them to assemble a bookcase in an old shopping arcade
in Charleroi, while a rap group performed alongside them. A film of
this performance was shown at the exhibition in Aalst. At the
exhibition, the artist first provides an explanation of the images in
the form of subtitles on a black screen. Then the filmed performance
is shown. In the projection space, there is also a wooden panel with
photos of the performance mounted on it. During the exhibition at
Netwerk Aalst, the performance was also repeated, again with a
performance by local rappers and students from a vocational school.
All that remains of this performance is the bookcase in the corridor
of the arts centre.</div>
<div style="line-height: 150%; margin-bottom: 0cm;">
<br /></div>
<div style="line-height: 150%; margin-bottom: 0cm;">
Van
Dorpe’s explanation of the film shows his fascination for the
difference between, on the one hand, the rappers who give their
creativity free rein and, on the other hand, the mechanical,
repetitive actions involved in assembling the bookcase: the
difference between art and work, between ‘a music concert that is
seen by the rappers as a stand against a normative society’ and, by
contrast, the manufacture of a mass-market product within a
capitalist system. In the first instance,<i> A
Bookcase</i> can therefore be considered a
reflection on artistic labour within the creative industry in the
time of Post-Fordism. Where minimalist artists in the seventies and
eighties sought to associate themselves with metalworkers in order to
re-socialise art, a relational artist such as Van Dorpe works with
the conceptual, performative and communicative strategies of
Post-Fordism. As such, the juxtaposition of material bookcase and
immaterial rap concert also leads to a comparison of art-historical
labour models, such as between an applied practice and a more
autonomous practice.</div>
<div style="line-height: 150%; margin-bottom: 0cm;">
<br /></div>
<div style="line-height: 150%; margin-bottom: 0cm;">
However,
Post-Fordism is also ‘work without end, not the end of work’. The
transition of capitalistic Fordism, with its mind-numbing, repetitive
labour on the production line, to the ‘creative economy’ of
Post-Fordism, led to such a blurring of the border between working
hours and free time that today we are effectively always at work.
Some art-sociologists even propose that the post-medium character of
twentieth-century art has served as a model for the immaterial,
creative and intellectual labour of today. ‘A typically artistic
sociology has become the pivot of economic vitality’, says
sociologist Pascal Gielen.<a class="sdendnoteanc" href="https://www.blogger.com/blogger.g?blogID=4942194192480108747#sdendnote1sym" name="sdendnote1anc"><sup>i</sup></a>
With <i>A Bookcase</i>, Stijn
Van Dorpe therefore shows his interest in how creativity is situated
within the neo-liberal, capitalist environment, how our
aesthetically-orientated way of thinking is interlinked with certain
power structures.</div>
<div style="line-height: 150%; margin-bottom: 0cm;">
<br /></div>
<h1 class="western" style="margin-top: 0cm;">
<span style="font-size: small;">Participants
– collectors
</span></h1>
<div style="line-height: 150%; margin-bottom: 0cm;">
The
artist also claims to be sensitive to the social context of the
project. Of course, the performance responds to the expectations that
go along with participative art, by offering a forum to local,
vulnerable youths from post-industrial Charleroi and by bringing
rappers and woodworkers together. In another work in the exhibition,
the artist again involved young people, this time young learners from
the group INTRO, based in Aalst. INTRO is an organisation that ‘seeks
to offer young people opportunities through training, compulsory
education, job coaching, work experience and social economics, among
other approaches’. The artist asked them to bring a digital photo
from their living environment. The painting therefore raises
questions similar to those raised by <i>A
Bookcase</i>, but does so in a more intimate
setting. Van Dorpe then commissioned a professional ‘fine painter’
to meticulously reproduce these images on a black background,
demonstrating the attention and respect Van Dorpe holds for the
images selected by these young people. ‘I think it would be an
interesting exercise to discuss the project with these young people
in ten years’ time’, he commented.</div>
<div style="line-height: 150%; margin-bottom: 0cm;">
<br /></div>
<div style="line-height: 150%; margin-bottom: 0cm;">
It is
often claimed that participative art has a ‘community-building’
effect by creating encounters between participants. Co-authorship as
a kind of ‘ethical machine’, a means of ‘activating’ and
emancipating the participants. Moreover, it is thought that art can
have a ‘healing’ effect on the fabric of society. Participative
projects like <i>A Bookcase</i>
are thus presumed to strengthen social bonds between participants.</div>
<div style="line-height: 150%; margin-bottom: 0cm;">
<br /></div>
<div style="line-height: 150%; margin-bottom: 0cm;">
The
artist himself, however, seems surprised about the group feeling that
arose during this project: ‘You notice that the participants in
Aalst had a nice day, because their work was appreciated, but I
consider this more as a sort of side-effect.’ The mechanism at work
in <i>A Bookcase</i>
therefore differs from the well-intentioned but often also compulsory
approach of ‘community-building’ art. ‘Participative art often
comes with strong expectations and clear goals of effecting social
change’, says Van Dorpe. The artist sees participative art rather
as a kind of institution which you can criticise. Which is in fact an
inversion of how participation is often motivated by institutional
criticism of ‘an elitist art world’.
</div>
<div style="line-height: 150%; margin-bottom: 0cm;">
<br /></div>
<div style="line-height: 150%; margin-bottom: 0cm;">
<i>Luik-Guillemins</i>
– the work in which collectors stroll around the railway station of
Liège with one of their paintings – also plays on this idea.
According to the artist, photos from this performance at the
exhibition in Aalst show ‘a visual story against a backdrop of
geometric architecture’. At the same time, he is bringing private
artworks into the public space of a railway station, a ‘social’
environment that is accessible to all. The works are ‘out of place’
here, however; recognised by nobody, they highlight the exclusivity
of art collecting. ‘Art that escapes the four walls of the
institution is valuable and, what’s more, necessary’, according
to Van Dorpe. The photos of the performance are later exhibited as a
sort of collection, <span style="color: black;">with
some collectors in turn</span><span style="color: black;"><b>
</b></span>buying the work. Van Dorpe wonders
whether ‘the circle is now complete’. Many feel that art that
criticises an elitist and commercial art world is moot by default,
since it remains itself a part of the system of the art market. But
instead of revisiting this argument, Van Dorpe sees room for other
paths of debate. ‘The fact that the collectors appear in the work
themselves, perhaps makes them empty forms’.</div>
<div style="line-height: 150%; margin-bottom: 0cm;">
<br /></div>
<div style="line-height: 150%; margin-bottom: 0cm;">
Van
Dorpe’s works, therefore occupy a different category than that of
‘community-building art’, if only because they react against an
all-too-easy consumable position. Participation may be understood by
the audience as a contemporary artistic practice, the works
themselves remaining at the same time confusing, opaque and somewhat
bizarre. ‘What does the bookcase have to do with anything?’ one
might ask upon first seeing <i>A Bookcase</i>.
Many visitors to the performance in Aalst thought that the assembly
of the bookcase was part of another exhibition under construction.
Even presenting such a participative process as an artwork within a
professional art space is perhaps in itself taboo for some in the
social or artistic field. And what to think of the
‘collector-participants’ in <i>Luik-Guillemins</i>?
As one-off performances, neither this work nor <i>A
Bookcase</i> offer long-term collaboration or
guidance for the participants. As such, they cannot be viewed as
‘community-building’ participatory art.</div>
<div style="line-height: 150%; margin-bottom: 0cm;">
<br /></div>
<h1 class="western" style="margin-top: 0cm;">
<span style="font-size: small;">Consensus –
dissensus</span></h1>
<div style="line-height: 150%; margin-bottom: 0cm;">
‘I
don’t want to view the schism as a game, I rather want to reclaim
it as a political space’, says Van Dorpe. The artist is inspired by
the ideas of the French philosopher Jacques Rancière, who associates
the political with the ‘empty’ moment when familiar meanings are
no longer valid. Instead of perpetuating the consensus within the
existing community, the goal is to break through the fixed places and
established patterns within it. Instead of integrating minority
groups according to the conventions of our society, the political
aspect is, according to Rancière, more about the deviation from
this, the ‘dissensus’. For Van Dorpe, this means exploring the
space between art and labour, seeking out tensions between the
different works at the exhibition, questioning the participative
recipe for emancipation. ‘I believe strongly in the emancipatory
power and the critical potential of an artistic tradition of
deconstruction, the making tangible of empty spaces as ‘strange’
but at the same time ‘familiar’ unoccupied worlds that still
offer every opportunity,’ says the artist. In other words, the
suspension of meaning created by a paradox is seen as creating a
moment of emancipatory potential. The small untitled painting arose
from a fascination for the difference between two kinds of worlds or
‘screens’, two means of representation and interacting with
images. On the one hand, there are the images of the young people
from Aalst, who were briefly engaged in selecting a photo. On the
other hand, there is the slowness and precision of ‘fine painting’,
which for Van Dorpe alludes to the origin of painting.</div>
<div style="line-height: 150%; margin-bottom: 0cm;">
<br /></div>
<h1 class="western" style="margin-top: 0cm;">
<span style="font-size: small;">Script –
performance</span></h1>
<div style="line-height: 150%; margin-bottom: 0cm;">
In this
sense, the bookcase and the concert in <i>A
Bookcase</i> also refer to the difference between
form and concept within the artistic process, between script and
performance. The explanation given by Van Dorpe in the subtitles is
perfectly interrupted by the rap concert in the middle of the film.
Text and image are juxtaposed in symmetry without the one being an
illustration of the other. This seems typical of the tension that can
be observed in Van Dorpe’s artworks between the theoretical and the
practical. ‘I find it fascinating how things come into being, such
as how certain thoughts came to mind through the act of my assembling
the bookcase.’ This intensive conceptualisation can also be felt in
how the woodworkers and rappers in <i>A Bookcase</i>
appear somewhat uncomfortable in the shopping arcade and the corridor
of the arts centre. We see bodies that find it difficult to relate to
the public space around them, bodies performing a script rather than
melding with the context. All the while, the sculptural aspect of the
performance remains the bookcase, a container of ideas.
</div>
<div style="line-height: 150%; margin-bottom: 0cm;">
<br /></div>
<h1 class="western" style="margin-top: 0cm;">
<span style="font-size: small;">Document –
documentation</span></h1>
<div style="line-height: 150%; margin-bottom: 0cm;">
Many of
these topics seem to come together in Van Dorpe’s statement that
‘an artwork is at its best as a document within an educational
process’. But what does this statement imply? An important question
here is whether the works are ‘documents’, as reproductions of
performances with participants, or rather ‘documentation’ within
a learning process that also involves the visitors to the exhibition.
And ‘whether the object then disappears in the operational and
intervening methods and procedures of the relational artwork’.<a class="sdendnoteanc" href="https://www.blogger.com/blogger.g?blogID=4942194192480108747#sdendnote2sym" name="sdendnote2anc"><sup>ii</sup></a></div>
<div style="line-height: 150%; margin-bottom: 0cm;">
<br /></div>
<div style="line-height: 150%; margin-bottom: 0cm;">
A
document is first and foremost a (usually) photographic or filmed
account or record of an event from the past, an ‘aesthetic
residue’, an index or trace of something else. The artwork as
document then has an archival and storage function, such as with <i>A
Bookcase</i> and <i>Luik-Guillemins</i>,
which each recall specific performances. Or as curator Enwezor Okwui
says, the document concerns ‘the relationship between the artwork
and its past’.<a class="sdendnoteanc" href="https://www.blogger.com/blogger.g?blogID=4942194192480108747#sdendnote3sym" name="sdendnote3anc"><sup>iii</sup></a>
This indexical function is also present in the ‘fine painting’ of
the little painting Van Dorpe commissioned based on a desire to
‘soberly take over the art of painting’.</div>
<div style="line-height: 150%; margin-bottom: 0cm;">
<br /></div>
<div style="line-height: 150%; margin-bottom: 0cm;">
Here
documents, as ‘traces of performances’, perhaps do deconstruct
the artwork. It is often said that ‘the participative process is
the artwork, not the resulting document’, which for some is seen as
a betrayal of the authentic participative (emancipatory) process. As
such, it can seem like somewhat of a nostalgic gesture for collectors
or museums to purchase artefacts from participative art projects. Van
Dorpe did not originally plan to film the Charleroi performance of <i>A
Bookcase</i>, which meant that he later had to
rely on footage made by others. One might indeed observe a certain
ephemeral aesthetic quality of the installation: the unspectacular
amateur footage, the echoing acoustics, the wooden panel. These are
‘documents that resist consumption’, like the photos from
<i>Luik-Guillemins</i> that
weren’t framed as saleable artefacts.</div>
<div style="line-height: 150%; margin-bottom: 0cm;">
<br /></div>
<div style="line-height: 150%; margin-bottom: 0cm;">
But
Stijn Van Dorpe’s works also undermine the referential, indexical
function of the documentary image. Mainly by themselves being
‘things’. His installations have thus a strong sculptural
character. In <i>A Bookcase</i>,
for example, there is the bookcase and the panel. Or, in the little
painting, the overall presence of the human figure, added to by the
multiple layers of images. Or, in <i>Luik-Guillemins</i>,
paintings carried around in the railway station as objects. And all
are three-dimensional ‘images-within-images’. Whereas some
participative projects seek to avoid the art object, Van Dorpe says
that his documents are ‘on their way to being art objects’. This
is hinted at in the title (‘book-case’, the book as sculpture),
but also in the panel, by which the artist adds a greater physical
aspect to the performance: ‘the structure, the construction, the
material of the wood’. In this light, Van Dorpe is certainly not a
typical ‘post-conceptual’ artist seeking to make ideas completely
autonomous. The bookcase in <i>A Bookcase</i>
thus becomes less generic or mass-produced, turning into a unique and
autonomous crafted object. The rappers give the piece of furniture
due credit at the end of the performance: ‘<i>Ceci
n’est pas une armoire Ikea!</i>’
</div>
<div style="line-height: 150%; margin-bottom: 0cm;">
<br /></div>
<div style="line-height: 150%; margin-bottom: 0cm;">
But
Stijn Van Dorpe ultimately claims to make no distinction between
objects and conceptual strategies. And, ultimately, many artists
working with participation do recognise the importance of the
physical artwork. To use artist Marc Dion’s words, ‘a tangible
art object can have [a critical role] as an ambassador for a complex,
time-based project’.<a class="sdendnoteanc" href="https://www.blogger.com/blogger.g?blogID=4942194192480108747#sdendnote4sym" name="sdendnote4anc"><sup>iv</sup></a>
And as Martha Rosler observes: ‘The artwork can serve as a
catalytic node for discussion and organising’.<a class="sdendnoteanc" href="https://www.blogger.com/blogger.g?blogID=4942194192480108747#sdendnote5sym" name="sdendnote5anc"><sup>v</sup></a>
This is how, in Van Dorpe’s work, the artist not only uses the
document as a reflection of a past performance, but as
‘documentation’ within a pedagogical process. The emphasis here
being on the ‘usability’ of the artwork within a discussion or
thought process and not on ‘the relationship between the artwork
and its past’.</div>
<div style="line-height: 150%; margin-bottom: 0cm;">
<br /></div>
<h1 class="western" style="margin-top: 0cm;">
<span style="font-size: small;">Blackboard –
exhibition
</span></h1>
<div style="line-height: 150%; margin-bottom: 0cm;">
Stijn
Van Dorpe is clear on the purpose these documents must serve: ‘the
exhibition is a school-like setting’. Every image hangs as if by
thumb tacks on a blackboard. In <i>A Bookcase</i>,
the blackboard is the wooden panel with its accompanying explanation,
in <i>Luik-Guillemins</i> it
is the museum wall, which is ‘like a folder of documents’, and it
is perhaps most present in the little painting, which itself
resembles a blackboard. Many artists nevertheless remain reluctant to
embrace the pedagogical qualities of art. Especially with respect to
the didactics so central to many participative projects, as expressed
in the words of the Brazilian artist Ricardo Basbaum, who seeks to
‘mobilise, reinvent and involve’ the subject, almost to the point
of tedium.<a class="sdendnoteanc" href="https://www.blogger.com/blogger.g?blogID=4942194192480108747#sdendnote6sym" name="sdendnote6anc"><sup>vi</sup></a>
Van Dorpe was also interested in working with the students from the
seventh-year woodworking class from Charleroi and Aalst ‘because
they were in a transition period between learning and working’. But
Van Dorpe has a different approach to pedagogy: ‘You could say that
I am creating a school-like situation, a space in which thinking and
discussion can take place.’ And in the view of Rancière, who draws
a parallel between student and viewer, this can lead to an
emancipatory process among participants and viewers alike. Rancière’s
idea of pedagogical emancipation is not about the transfer of
knowledge, which rather risks reproducing the inequality between
master and pupil. Instead of activating viewers, the French
philosopher instead sees emancipatory potential in the viewer as a
translator, capable of making his or her own translations. This is
the <i>poiesis</i> of art as
a free space for interpretation, a space that can elicit a social
dialogue or an individual way of thinking, thus harbouring the
promise of emancipation. ‘Learning, for Rancière, is inherently
political’, says Van Dorpe, ‘it is the schism that makes another
way of thinking possible.’ Instead of community-building,
emancipation here offers the notion that everyone is capable of
arriving at their own interpretation of an artwork, a subjective
experience of capability. In the film and the photos, you see that
the students and rappers do their best to make a contribution to the
artwork, doing so in confrontation with the audience. Furthermore,
both the rappers and the students are working with great
concentration: the woodworkers with quiet and systematic precision,
the rap group with an energetic, playful vigour. But is that not just
what society expects of them? ‘The participants are privileged
viewers of a role that they of course play outside of the context of
the artwork as well. They see that they’re able to begin something.
And by linking this role to other elements, the artwork or the
exhibition become documents, whereby the original meaning is lost.’</div>
<div style="line-height: 150%; margin-bottom: 0cm;">
<br /></div>
<h1 class="western" style="margin-top: 0cm;">
<span style="font-size: small;">Open archive
– closed archive</span></h1>
<div style="line-height: 150%; margin-bottom: 0cm;">
‘This
school can’t be too strictly organised, it doesn’t have to always
deliver a product’, says Stijn Van Dorpe. Rancière’s idea of the
viewer as translator implies that, as an artist, one cannot plan to
have an effect on the viewer. A crucial factor is the learning
material that occupies a space between teacher and student or the
artwork that occupies a space between artist and viewer: the students
learn via the book and are equal because they are all talking about
the same thing. The artwork makes it possible to escape the logic
that one must feel and think the same as the artist.<a class="sdendnoteanc" href="https://www.blogger.com/blogger.g?blogID=4942194192480108747#sdendnote7sym" name="sdendnote7anc"><sup>vii</sup></a>
A work that has an open, unpredictable character can preclude fixed
categories and societal labels from becoming operational. ‘The
indecisiveness of the experience encourages you to question the
current way the world is organised.’<a class="sdendnoteanc" href="https://www.blogger.com/blogger.g?blogID=4942194192480108747#sdendnote8sym" name="sdendnote8anc"><sup>viii</sup></a>
In other words, the bookcase is an archive, ‘to which something can
always be added’, as Van Dorpe puts it. A document is in this way
an open work because it elicits questions without assuming a
definitive form. And artworks as ‘inconclusive’ documents seem
best suited for this role.</div>
<div style="line-height: 150%; margin-bottom: 0cm;">
<br /></div>
<div style="line-height: 150%; margin-bottom: 0cm;">
The
‘artwork as a document of a pedagogical process’ does raise the
question of whether the artwork is purely a means to an end. In
putting together the exhibition, Van Dorpe was primarily concerned
with the artworks; social contact didn’t come into it.
<i>Luik-Guillemins</i> shows
how for Van Dorpe it was not only about the train journey and the
station; the performance was also undeniably in function of the
artwork after the fact.</div>
<div style="line-height: 150%; margin-bottom: 0cm;">
<br /></div>
<div style="line-height: 150%; margin-bottom: 0cm;">
And
according to Stijn Van Dorpe, ‘it would be impossible to hang a bad
drawing on the exhibition wall’. ‘Perhaps an interesting
pedagogical document also has the qualities of an artwork.’ The
artwork as a pedagogical document is thus without a doubt ‘more
than something that comes about by coincidence’. Van Dorpe belongs
to a generation of artists who work with participation but at the
same time believe strongly in the specific place that art holds in
society, as well as its emancipatory potential.</div>
<div style="line-height: 150%; margin-bottom: 0cm;">
<br /></div>
<h1 class="western" style="margin-top: 0cm;">
<span style="font-size: small;">Author –
teacher</span></h1>
<div style="line-height: 150%; margin-bottom: 0cm;">
But who
is the author of ‘the artwork as a pedagogical document’? The
title of the exhibition <i>Ideologie AUB! Een
denkmodel</i> (‘Ideology, please! A model of
thought’) provides a complex answer to this question, bordering on
a command, in the form of a plea for a position to be taken. How can
this authoritative voice be reconciled with the open character of Van
Dorpe’s documents? Does not the criticism of the modernistic art
object then lead to the rejection of the singular, authentic author?</div>
<div style="line-height: 150%; margin-bottom: 0cm;">
</div>
<div style="line-height: 150%; margin-bottom: 0cm;">
Van
Dorpe’s work is of course post-conceptual through and through,
unattached to the object. The ‘documents’ Van Dorpe makes are
based firmly on a conceptual attitude of operational,
experience-orientated and organisational methods, on the designing of
a discourse. ‘As far as I’m concerned, my artworks can completely
evaporate, remain invisible.’ But this almost curatorial position
does clash with the humble position requested of the artist in
participative processes, thus amounting to ‘an artistic collapse’,
as artist Liam Gillick once described the dogma of co-authorship.<a class="sdendnoteanc" href="https://www.blogger.com/blogger.g?blogID=4942194192480108747#sdendnote9sym" name="sdendnote9anc"><sup>ix</sup></a>
Van Dorpe says that there came a time when he certainly experienced
the position of the artist as being ‘too absolute’. With his
background as a painter, authorial criticism at one point became a
major driving force to do things differently. He felt drawn to ‘the
romantic idea of disappearing authorship’. In <i>A
Bookcase</i>, the artist shares authorship in
different ways with the participants: in the explanatory subtitles,
he lists the production team of the work by name and nickname and is
led by the musical preferences of the woodworkers from Aalst. He also
involved multiple authors in the little painting (the young people,
the fine painter) and in <i>Luik-Guillemins</i>
(the collectors and photographer).
</div>
<div style="line-height: 150%; margin-bottom: 0cm; orphans: 0; widows: 0;">
<br /></div>
<h1 class="western" style="margin-top: 0cm;">
<span style="font-size: small;">Placing
things alongside each other</span></h1>
<div style="line-height: 150%; margin-bottom: 0cm;">
The
author seems to hide his authorial hand in the work <i>A
Bookcase</i> by juxtaposing different elements
without the use of montage. ‘Mechanical’ bodies stand alongside
‘creative’ bodies in the installation, as components comparable
with the film, text, panel and bookcase. The exhibition can be seen
as an archive of documents between which conflicts arise. In <i>A
Bookcase</i>, this pedagogical method leaves the
work’s field of meaning lying fallow. The viewer is invited to
compare, consider and check the work against his or her own frame of
reference. For Van Dorpe, emancipation means not leading the viewer
to an illusion of reality. ‘It’s a method that first shows the
thing and asks what constitutes its specificity, and what makes its
specificity possible and thinkable’, says Rancière regarding his
method of equality.<a class="sdendnoteanc" href="https://www.blogger.com/blogger.g?blogID=4942194192480108747#sdendnote10sym" name="sdendnote10anc"><sup>x</sup></a>
The point of departure here is the assumption of ‘the ability to
understand’. The assumption that showing, viewing and comparing can
lead to unexpected connections and associations. Van Dorpe’s role
is then limited to establishing a situation, announcing, sketching
the guidelines. ‘I saw it as a lesson in which I don’t actually
say anything, I don’t pass judgement.’ Just as his documents are
‘on their way to being art objects’, the teacher and author in
Van Dorpe is intrinsically hesitant. As such, he is not afraid of
questioning the paradoxes in his own work. ‘The empty space is of
course already institutionalised, it has become a sales tactic within
the neoliberal ranks of contemporary art.’</div>
<div style="line-height: 150%; margin-bottom: 0cm;">
<br /></div>
<h1 class="western" style="margin-top: 0cm;">
<span style="font-size: small;">Author –
actor
</span></h1>
<div style="line-height: 150%; margin-bottom: 0cm;">
But
does the artist then not have ‘his own thoughts’? In contrast
with many participative works, the authorial voice of Stijn Van Dorpe
is very prominent in <i>A Bookcase</i>,
through his use of subtitles. The viewer is obliged to view the film
through to the end; there’s no point in viewing only part of it.
Van Dorpe says that at a certain moment he started to take issue with
the motif of the ‘disappearing author’, beginning to see it as
too much of a self-referential matter in an artistic context. What,
then, is the significance of the subtitles in the film? They totally
demystify the work, providing abundant information about his personal
motivation and intentions, about obstacles, possible arguments and
the production process – not to mention his own analysis of the
work. Van Dorpe himself here assumes the mediating role – usually
assumed by museums, educational services and curators – in order to
forge a direct connection with the public. By making the script a
part of the work, the exhibition makes a clear statement about the
issue of the artist’s intervention within relational aesthetics.</div>
<div style="line-height: 150%; margin-bottom: 0cm;">
<br /></div>
<div style="line-height: 150%; margin-bottom: 0cm;">
The
question of to what extent the artist leaves the participative
processes untouched in turn elicits the question of which boundaries
are in place. Van Dorpe’s voice clearly puts in question a
curatorial role of ordering documents, positioning and classifying
them and facilitating a dialogue between them. With the exaggeration
of the teacher’s explanation, Van Dorpe takes a critical stance
with respect to the intervening role of the artist and the idea that
he or she always dominates the discourse surrounding the work. What
if nothing of the artist’s intentions is left to the imagination of
the viewer? Does this then block the creative translation of the
viewer or is it precisely this that makes the translation possible?
According to Rancière, the teacher also plays a role in pedagogical
emancipation by encouraging the students and urging them to engage
with the study material, so that they ‘want to be able to do
something’. In this sense, Van Dorpe seems not to limit the
structure of meaning with his subtitles, but to demonstrate his own
‘ability and desire to translate’, he himself thus occupying the
role of the viewer. ‘The idea behind <i>A
Bookcase</i> is that I am adding a new element,
namely the position of the observer. And so, if I’m a viewer on
equal footing, these documents can’t really be said to stand
between myself and the viewer.’ Van Dorpe thus sketches a script
for a performance that involves other participants, only to then join
the viewer to see how things develop. As an artist, he clearly
positions himself as a character among other characters. In this way,
he undermines the question of authorial criticism: ‘It is perhaps
better to appear just as the others.’ In <i>A
Bookcase</i> there is a self-conscious approach
to and a (staged) destruction of the artist’s own authorship, which
creates a tension between generosity and superfluity. And, with
this, the intervening role of the artist as curator seems not to
contradict the open character of the document after all.</div>
<div style="line-height: 150%; margin-bottom: 0cm;">
<br /></div>
<div id="sdendnote1">
<div style="margin-bottom: 0cm; page-break-before: always;">
<a class="sdendnotesym" href="https://www.blogger.com/blogger.g?blogID=4942194192480108747#sdendnote1anc" name="sdendnote1sym">i</a><sup> </sup>Gielen,
P., (2009) The murmuring of the artistic multitude, Valiz,
Amsterdam, p. 263</div>
</div>
<div id="sdendnote2">
<div style="margin-bottom: 0cm; page-break-before: always;">
<a class="sdendnotesym" href="https://www.blogger.com/blogger.g?blogID=4942194192480108747#sdendnote2anc" name="sdendnote2sym">ii</a><sup> </sup>Decter,
J., Draxler, H. (2014), Exhibition as social intervention ‘Culture
in action’ 1993, Exhibition histories, After all books, London, p.
224</div>
</div>
<div id="sdendnote3">
<div style="margin-bottom: 0cm; page-break-before: always;">
<a class="sdendnotesym" href="https://www.blogger.com/blogger.g?blogID=4942194192480108747#sdendnote3anc" name="sdendnote3sym">iii</a><sup> E</sup><span style="font-family: "helvetica" , serif;"><span style="font-size: small;">
</span></span>International Center of Photography (New York - United
States), Steidl, p. 264</div>
</div>
<div id="sdendnote4">
<div style="margin-bottom: 0cm; page-break-before: always;">
<a class="sdendnotesym" href="https://www.blogger.com/blogger.g?blogID=4942194192480108747#sdendnote4anc" name="sdendnote4sym">iv</a><sup> </sup><span lang="nl-BE">Decter,
J., Draxler, H. (2014), op. cit.</span></div>
</div>
<div id="sdendnote5">
<div style="margin-bottom: 0cm; page-break-before: always;">
<a class="sdendnotesym" href="https://www.blogger.com/blogger.g?blogID=4942194192480108747#sdendnote5anc" name="sdendnote5sym">v</a><sup> </sup>
Rosler, Martha (ed.) (1998) If You Lived Here: The City in Art,
Theory, and Social Activism: A Project by Martha Rosier (Discussions
in Contemporary Culture), New Press, p. 312</div>
</div>
<div id="sdendnote6">
<div style="margin-bottom: 0cm; page-break-before: always;">
<a class="sdendnotesym" href="https://www.blogger.com/blogger.g?blogID=4942194192480108747#sdendnote6anc" name="sdendnote6sym">vi</a><sup> </sup>Basbaum,
Ricardo (2011) ‘Post participatory participation’, in: Afterall,
December no. 28, Central Saint Martins College of Art and Design,
London</div>
</div>
<div id="sdendnote7">
<div style="margin-bottom: 0cm; page-break-before: always;">
<a class="sdendnotesym" href="https://www.blogger.com/blogger.g?blogID=4942194192480108747#sdendnote7anc" name="sdendnote7sym">vii</a><sup> </sup><span lang="nl-BE">Masschelein,
Jan, Simons, Maarten (2013), ‘Het atelier als autonome
pedagogische plek’ in: Autonomie als waarde. Dillema’s in kunst
en onderwijs, Valiz, Amsterdam, p. 160</span></div>
</div>
<div id="sdendnote8">
<div style="margin-bottom: 0cm; page-break-before: always;">
<a class="sdendnotesym" href="https://www.blogger.com/blogger.g?blogID=4942194192480108747#sdendnote8anc" name="sdendnote8sym">viii</a><sup> </sup><span lang="nl-BE">op.
cit.</span></div>
</div>
<div id="sdendnote9">
<div style="margin-bottom: 0cm; page-break-before: always;">
<a class="sdendnotesym" href="https://www.blogger.com/blogger.g?blogID=4942194192480108747#sdendnote9anc" name="sdendnote9sym">ix</a><sup> </sup>Meade,
Fionn (2014) ‘Spaces of critical exchange’, in : Mousse
contemporary art magazine, 4/9/2014, p. 22 ,
http://moussemagazine.it/articolo.mm?id=838</div>
</div>
<div style="margin-bottom: 0cm;">
</div>
<div id="sdendnote10">
<div style="margin-bottom: 0cm; page-break-before: always;">
<a class="sdendnotesym" href="https://www.blogger.com/blogger.g?blogID=4942194192480108747#sdendnote10anc" name="sdendnote10sym">x</a><sup> </sup>Davis,
O. (ed.) (2013) Rancière Now. Current perspectives on Jacques
Ranciere, Polity press, Cambridge, p. 250
</div>
<div style="margin-bottom: 0cm;">
<div class="separator" style="clear: both; text-align: center;">
<br /></div>
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Unknownnoreply@blogger.comtag:blogger.com,1999:blog-4942194192480108747.post-71998480572724428332015-08-21T19:42:00.000+02:002020-03-22T16:48:20.172+01:00Pilootproject Tondelier (long-term project) phase 1<div style="font-family: "Helvetica Neue"; font-size: 16px; font-stretch: normal; line-height: normal;">
<span style="font-kerning: none;">phase 1:</span></div>
<div style="font-family: "Helvetica Neue"; font-size: 16px; font-stretch: normal; line-height: normal; min-height: 18px;">
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<span style="font-kerning: none;">a/ maquette / documents</span></div>
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEimWq9TdpseFUT-3dG0IcYAvod5IWBnjqr3q6c9RZ6dQEdlAZG0V216wTmdbtN7TTMvmnbY43zi7TXgOBy31weosHIcXOqU2udFpfBIM1S2wQzWmSj1K8FJWJ0p3osmp3d85NuM76e0RtPB/s1600/Helikopter-4.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="426" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEimWq9TdpseFUT-3dG0IcYAvod5IWBnjqr3q6c9RZ6dQEdlAZG0V216wTmdbtN7TTMvmnbY43zi7TXgOBy31weosHIcXOqU2udFpfBIM1S2wQzWmSj1K8FJWJ0p3osmp3d85NuM76e0RtPB/s640/Helikopter-4.jpg" width="640" /></a></div>
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<table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="float: left; margin-right: 1em; text-align: left;"><tbody>
<tr><td style="text-align: center;"><img border="0" height="147" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjmVP6AczXSCViZ985T2Xdu1zxSSxHXEW-aRFUzUz21RDZZAFYLJocFrv5XA7ZKtnbTvzrGR37PE5sdyDZUTAN1evoC4k3bRBbsMQqczUhhABUsknsnNX-DLsKwitQtDJ6LYTI7P_6EsUQd/s200/fig.2.jpeg" style="margin-left: auto; margin-right: auto;" width="200" /></td></tr>
<tr><td class="tr-caption" style="text-align: center;"><span style="font-family: Helvetica Neue, Arial, Helvetica, sans-serif;">fig. a</span></td></tr>
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<table cellpadding="0" cellspacing="0" class="tr-caption-container" style="float: right; margin-left: 1em; text-align: right;"><tbody>
<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiWhqF0b9aAbgaw1KGoLWv_Q_pHKHoZ59a488diiliytmWLEb6rCWzjOWTxg2mXBp1ZedrLju32I-w7QmSaU43L1WjuybRf-_hjxme9HcbL37w50QKhPfLZQGI2_Npya1FEXbwOJaY-unsH/s1600/Stijn-in-Gent-def.png" imageanchor="1" style="clear: right; margin-bottom: 1em; margin-left: auto; margin-right: auto;"><img border="0" height="320" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiWhqF0b9aAbgaw1KGoLWv_Q_pHKHoZ59a488diiliytmWLEb6rCWzjOWTxg2mXBp1ZedrLju32I-w7QmSaU43L1WjuybRf-_hjxme9HcbL37w50QKhPfLZQGI2_Npya1FEXbwOJaY-unsH/s320/Stijn-in-Gent-def.png" width="228" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;"><span style="font-family: Helvetica Neue, Arial, Helvetica, sans-serif;">fig.b</span></td></tr>
</tbody></table>
<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjmVP6AczXSCViZ985T2Xdu1zxSSxHXEW-aRFUzUz21RDZZAFYLJocFrv5XA7ZKtnbTvzrGR37PE5sdyDZUTAN1evoC4k3bRBbsMQqczUhhABUsknsnNX-DLsKwitQtDJ6LYTI7P_6EsUQd/s1600/fig.2.jpeg" imageanchor="1" style="clear: left; float: left; margin-bottom: 1em; margin-right: 1em;"> </a><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiWhqF0b9aAbgaw1KGoLWv_Q_pHKHoZ59a488diiliytmWLEb6rCWzjOWTxg2mXBp1ZedrLju32I-w7QmSaU43L1WjuybRf-_hjxme9HcbL37w50QKhPfLZQGI2_Npya1FEXbwOJaY-unsH/s1600/Stijn-in-Gent-def.png" imageanchor="1" style="clear: right; float: right; margin-bottom: 1em; margin-left: 1em;"><br /></a><br />
<table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="float: left; margin-right: 1em; text-align: left;"><tbody>
<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEj3bOwvTPoFyRHMYgiTJ1bhYj7HjW1lSPYGhp2gjY1iY2F437qrl3p0Qe9Dyj2WsfPSkl_BTpp2V2g7J3COSK-2LwsdUnFMqcBEjN9mKqHjl9_vx6KM0Rb0yXRJkCwc6CCHhja9Cg53NV-D/s1600/Helikopter-29.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" height="133" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEj3bOwvTPoFyRHMYgiTJ1bhYj7HjW1lSPYGhp2gjY1iY2F437qrl3p0Qe9Dyj2WsfPSkl_BTpp2V2g7J3COSK-2LwsdUnFMqcBEjN9mKqHjl9_vx6KM0Rb0yXRJkCwc6CCHhja9Cg53NV-D/s200/Helikopter-29.jpg" width="200" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;"><span style="font-family: Helvetica Neue, Arial, Helvetica, sans-serif;">fig.d</span></td></tr>
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<table cellpadding="0" cellspacing="0" class="tr-caption-container" style="float: right; margin-left: 1em; text-align: right;"><tbody>
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<span style="font-kerning: none;">b/ the lines/ ground</span></div>
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<span style="font-kerning: none;"><i>photos Tomas Uyttendaele</i></span></div>
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<span style="font-kerning: none;"><i>except: fig.a (rapp+rapp), fig.b (graphic design Piet Bodyn), fig.c</i></span></div>
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<span style="font-kerning: none;">c/ the story:</span></div>
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<span style="font-kerning: none;">Since the first new buildings will arise only in one or two years and there are no new residents yet, the architectural plan of the future buildings seemed the only tangible reference I could start from. I decided to paint on the vacant lot and on a one-to-one scale, the outlines of the future public courtyard, which has the shape of a paddle wheel. What could be fully overviewed and controlled on the architects drawing table (fig.a) was a physical challenge for us who set the lines. We painted the lines with white chalk and paint spray (which refers to the lines on a sports field and thus to a game), made us face many obstacles. We had to climb on the roofs and find our way through overgrown areas. We painted the lines wherever we could, but decide to interrupt in the allotments. These interruptions can be seen as symbolising the social barriers. A second step was the organisation of a tombola (fig.b) during a neighbourhood feast, in which the participants could win a two-person helicopter flight over the Tondelier site. As such, two inhabitants of the neighborhood (fig.d.) could experience the ground plan of the future housing project (our drawing) from the air. The underlying idea was again to change the idea of power. For a couple of moments, two people who had been chosen by fate, were able to experience, to be in a similar position as the architects at their drawing table.</span></div>
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Unknownnoreply@blogger.comtag:blogger.com,1999:blog-4942194192480108747.post-14135151856676249372015-03-28T20:48:00.000+01:002016-06-12T21:25:10.823+02:00Netwerk Aalst: Ideologie AUB! Een denkmodel / Ideology Please! A Thinking Model<div class="separator" style="clear: both; text-align: left;">
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<span style="font-size: xx-small;">photo Tomas Uyttendaele</span></div>
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<span style="font-size: x-small;">Ideologie AUB! Een denkmodel</span><br />
<span style="font-size: x-small;">Ideology Please! A Thinking Model</span><br />
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<span style="font-family: "helvetica neue" , "arial" , "helvetica" , sans-serif;"><b><span style="color: #444444;">‘Ideology, please! A Thinking Model.’</span></b><br /><br />
<br />Netwerk (NW): The title of the exhibition alone inspires reflection. Is it targeted at ideological criticism in art or the abatement of ideology in society?<br /><br /><br />Stijn Van Dorpe (SVD): The title creates a possible context for the exhibition. It refers to an environment in which people are very selective in what they choose to label as ideological. Ideology is often portrayed as something extreme. The attempt in Greece, for example, to develop alternative solutions to their woeful economic situation based on leftist values is seen as dangerous and destabilising. In the current political reality, on the other hand, decisions are presented more and more as being necessary and not as stemming from ideology. People gloss over the fact that today’s neo-liberal reality is irrefutably ideology-driven. The title can be read as a rallying cry to once again make room for ideology. Of course, it’s not about installing one particular ideology, but rather the possibility of keeping the political field open.<br /><br /><br />NW: You create a space within the context of art, or the art institution, to cast a critical eye on things. You also incorporate a degree of social reality in the exhibition, involving people with diverse backgrounds in the activation of your work. During the preparation of this exhibition, you already activated the project A Bookcase in ‘Hotel Charleroi (2014)’. What’s the relationship between the two performances?<br /><br /><br /><b><span style="color: #444444;">A Bookcase, Aalst</span></b><br /><span style="color: #444444;">Public performance in which woodwork students from KTA De Voorstad put together a bookcase during the opening event of the exhibition. While they are assembling the bookcase, musicians simultaneously play a live concert. The bookcase and the sound recording of the performance later receive their own autonomous place in the exhibition as an installation. A video work relating to the performance in Charleroi is shown in the gallery.</span><br /><br />SVD: The idea indeed came about in the run-up to the exhibition, but was first shown in Charleroi. In Netwerk it has been recontextualised. A live performance in the middle of the city of Charleroi, in a public space, is a different situation to a performance in an arts centre. The choice to have the performance take place in the area transitioning into the exhibition space is not arbitrary. The work has been placed on the border of the ‘sacred’ gallery space and the reception area, the Netwerk café. Deep in the exhibition, there is a film of the Charleroi version. The film is in two parts. First you gain an insight into my motivations for creating the work and into the conceptual development of the work. The second part shows the actual, physical happening. These two representations are in contrast with each other. The live performance that takes place at Netwerk and the documentation of the Charleroi iteration each assume a different form and therefore elicit a different experience.</span></div>
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<span style="font-family: "helvetica neue" , "arial" , "helvetica" , sans-serif;"><br /><br />NW: It’s interesting to look at which position you assume in this kind of work, as an artist. It seems that, as an artist, you enter into participative projects within a certain conceptual framework in order to create an artistic work, rather than working in an artistic-social way with specific groups. How do you see this yourself?<br /><br /><br />SVD: I would certainly relate the social-artistic aspect more with my work as a teacher. In teaching, the educative aspect is at the forefront without there having to be an outcome, that is very important. In my artistic practise, the ultimate goal is to have an artwork at the end. For me, an artwork functions best as a document with an educative potential. It holds a position between the artist and the public. The people I collaborate with are the ones that literally shape the artwork. In this capacity, they appear as characters but at the same time they are also privileged spectators. They are both in the work and outside of it. Also important is that I am myself a character within the exhibition. The same logic can therefore be applied to me. The first time that I appeared in the exhibition circuit as a character was in the series of works around Josef Albers.<br /><br /><br /><span style="color: #444444;"><b>Homage (set off, earth gold, green-gray shield B, elected 1, at night)</b><br />In the Albers Museum in Bottrop, the artist took a series of photos of paintings from his own eye level of Josef Albers, from his Homage to the Square series. By reproducing the works in this way, they are literally put into perspective, making a small white section of wall visible.</span><br /><br /><br /><br />NW: This series arose from your fascination with Albers’ work. What is it that particularly speaks to you about his way of working?<br /><br /><br />SVD: My interest in the series Homage to the Square is about his specific approach to matter and colour. On the one hand, his intention is to let things be or happen; an attitude that can be seen in his striving for an uncomplicated way of painting and in the lack of meaning he attaches to colour. On the other hand, there is the aspect of context. Colours are perceived differently depending on the colours they are paired with. And so the specificity and the environment make the work, without any meaning being imposed from outside. I think the interaction observable between these two dualities is very beautiful and, in terms of how meaning is created, radically different to the American geometric abstracts from the fifties, for example. What I’m doing here is adding a new element, namely the position of myself as an observer. The idea behind my work is that I’m adding a new element, specifically that of the observer, the viewer. By taking pictures in a certain way, a kind of perspective is created that makes a small section of white wall visible at the bottom. With some imagination you can see the image as a window that is being gently opened so that a field comes into view just outside the painting.</span></div>
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<span style="font-family: "helvetica neue" , "arial" , "helvetica" , sans-serif;"><span style="color: #444444;"><b>Without Growth</b><br />This project began during the winter school ‘Hotel Charleroi (2014)’. For some exhibitions, Stijn Van Dorpe creates a little book titled: Without Growth. He invites authors, activists or researchers to adopt a critical and adventurous approach to reflecting on a possible alternative society not based on economic growth. By bringing these texts into the art space, he seeks to investigate the aesthetics of the economic space while also challenging the aesthetics of the art space. The work explores the tension between aesthetic values in the art space and the aesthetics of our growth-orientated economic space. The artist made the first book for Hotel Charleroi, which included text by Filka Sekulova. In the second edition, which is being shown at Netwerk, Florence Scialom presents an essay.</span><br /><br />NW: Can we read the series Without Growth as the creation of a space that holds the promise of possible alternatives in order to make these conceivable and discussable?<br /><br /><br />SVD: You could say that I’m doing something that is not expected of an artist. Like a cobbler who does away with his last. Which, by the way, is an image that appears in the educative philosophy of Jacques Rancière in the form of a young craftsman who learns Hebrew and in the process becomes a better craftsman. The research really is being done based on my genuine interest in the subject. What comes out of it are research-focused or specific small-scale situations that somehow hold the promise of a better world. Placed in a highly artistically reflexive context that is still unique to this exhibition, these realities imagined in text touch upon a dilemma that is specific to art itself. These imagined realities inhabit a domain where art is something between a utopian space and something that can actually make a difference.<br /><br /><br /><span style="color: #444444;"><b>Painting</b><br />Seven young people were asked by Stijn to provide an image they associated with and that they’d like to see made into a painting. The seven photos were incorporated into a composition and painted by Lieve Dejonghe, an artist who has mastered the labour-intensive craft of ‘fine painting’.</span><br /><br /><br />NW: You have also created a work in collaboration with young people from Groep Intro vzw and a professional fine painter. Does this work refer to the way in which our current society thinks about creativity, as a sort of utopia for shaping your own life within a conformist context? As in the case of young people active on social media, for example?</span></div>
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<span style="font-family: "helvetica neue" , "arial" , "helvetica" , sans-serif;">SVD: It’s not so much that it refers to that, it’s rather that such contexts form elements of the work. Just look at how it was created. An important aspect of this painting is the process by which it was made. A number of young people who don’t have an easy time within the structures of our current school environment were involved in the project. They were asked to decide what would be depicted in the tableau. What’s depicted is always perceived as the most important element within a picture. They were entrusted with this responsibility. Their choice of what would feature in the painting was made rather quickly. Then came the intensive and precise work of painting in service of the image. There are two kinds of labour involved in the creation of the work, each with certain value systems attached that are contributed from different perspectives.<br /><br />Furthermore, the image is made based on different cultural layers that overlap. The youngsters appear as if behind a sort of screen, like an image plucked from the digital world, such as a record label or a muscle-bound film star. But also the specific approach to painting, which here allows the digital images to be converted back into tangible objects, refers to a completely unique segment within the cultural world: the world of fine painting, a world that’s separate from the one in which this work is now being presented. But there is likely to be an inconsistency in the final work. The artist I invited to realise this piece, Lieve Dejonghe, is explicitly against all forms of labelling in her work. In some of her still lifes this manifests itself in an expressive touch in the black background. But given that this interview is taking place before I get to see the final work, I don’t know if this will be the case here, too.<br /><br /><br />NW: A deep-rooted theme throughout your work is the critical questioning of neo-liberal society and the entrenched form of capitalism associated with it. Does this social-critical attitude drive your artistic research?</span></div>
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<span style="font-family: "helvetica neue" , "arial" , "helvetica" , sans-serif;">SVD: The neo-liberal background is a decisive factor in the way I plot my path as an artist in the (art) world. It’s certainly not the case that it represents an immediate subject in the works themselves. It’s more about the research into how specific power structures are contained in our aesthetic way of thinking. Specific power structures are also at play in the Liège-Guillemins project. What happens if you remove the partitions of the museum or the gallery?<br /><br /><br /><span style="color: #444444;"><b>Luik-Guillemins</b><br />Stijn Van Dorpe invited a group of collectors linked to the artistic cooperative Emergent to bring a painting from their personal collection to the station at Liège-Guillemins. For an hour they held the work under their arms, playing the role of a traveller waiting for the train to Ghent. The artist sees the performance as a theatre piece. A visual report of the performance was created in the form of a photo installation.</span></span></div>
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<span style="font-family: "helvetica neue" , "arial" , "helvetica" , sans-serif;">NW: So what actually happened during the performance at the station?</span></div>
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<span style="font-family: "helvetica neue" , "arial" , "helvetica" , sans-serif;">SVD: It was very noticeable how few people paid attention to what was happening. Almost no one seemed to see the event as an art project and only a few showed even a hesitant curiosity. Presumably none of the travellers there at the time had any idea of the astronomical value of the works that were shown here. The artworks were in an immensely vulnerable situation and very sensitive, but at the same time this paradoxically revealed the invisibility of the capitalist system in which art is so steadfastly anchored.<br /><br /><br />NW: Finally, I would like to talk about the work Een Denkmodel (Berlijn) — ‘A Model of Thought (Berlin)’ — which, for me personally, represents the culmination of the exhibition. If the title can be seen as the mental portal to the exhibition, then I think in this work the aesthetic element is the key to unlock doors into other possible worlds. What is important to you in this work?<br /><br /><br /><span style="color: #444444;"><b>'A Thinking Model' (Berlin)</b><br />Stijn Van Dorpe created this work during his residency in Berlin. During this time he visited a commercial gallery, situated in an historic building in the GDR that was previously the headquarters of the national newspaper Berliner Verlag. The gallery is not visible from the street and profiles itself more as an ‘office’ or ‘working space’ than as a traditional exhibition space. Van Dorpe was first fascinated by the convergence of this exotic-seeming, former socialist location (the building) with a gallery programme in which both aesthetic and theoretical references (Alain Badiou, Jacques Rancière) seemed familiar, but where at the same time one can trace the beginnings of an ideological context (communism) in which the of the building was built. The installation consists of three parts. Firstly, seven different isometries and a perspective drawing of the large GDR building in which all additions and changes after the fall of the wall in 1989 are omitted. Secondly, texts about the gallery were published in a traditionally-printed newspaper, the texts having been sent over the internet, compiled and supplemented with an email from Stijn addressed to the gallerists. Thirdly, there is a cast of the building’s last original door latch, which was found in the basement.</span><br /><br /><br />SVD: The work is based on a visit to an art gallery in Berlin. The gallery is located in the heart of a socialist building from the early sixties. I was extremely fascinated by the specific setting of this gallery and by the connotations that it evokes. First of all, there was the building that can be seen as a representation of communist ideals, which I experienced as being quite exotic. Inside, there was a gallery that evoked a certain familiarity with its very contemporary programme. We’re not talking about a traditional setting in which the gallery opens out onto the street, and so there is no direct contact with the outside world. In the first instance, I associated being in an office space with being in a place of work rather than traditional commercial site. Also important was the associative link that came to me with work of Rancière and Badiou, among others, who hold a leading position in the world of art criticism and for both of whom the communist ideal of equality is high on the agenda.<br /><br /><br />And so the work can be summarised as a documentary representation of a real situation or setting. At first, the idea was to make a sort of maquette of this, which I later called a ‘model of thought’. The model consists of three elements that all play with the notion of time. The architecture of the building that has been stripped of all innovations after 1989, including the removal of the characteristic façade for example, leaves large holes in the image.<br /><br /><br />NW: Is the newly-cast aluminium door latch then the element that escaped, the refugee that evaded time and the harsh reality of a dominant ideological context...<br /><br /><br />SVD: If you want to see it that way. To me, it’s nice to think that the door latch was linked to the concierge of the building, Mr. Krüger, just as the drawings are with the architect and the gallery with the gallerist. Mr. Krüger was already on the job during the building’s early years and gave me a few tours of the place. Unfortunately, during my time in Berlin the man received the news that he was to be let go two years before retirement.<br /><br /><br /><i><u><span style="color: red;">for pictures scroll down</span></u></i><br /><br /><br />
NL:<br /><br /><br />STIJN VAN DORPE
<br />Ideologie AUB! Een denkmodel
<br />29.03 > 13.06.2015<br /><br /><br />Netwerk (NW): De titel van de tentoonstelling vormt al meteen een reflectiewerk op zichzelf. Doel je op ideologiekritiek binnen de kunstpraktijk of op de teloorgang van ideologie in het maatschappelijke veld? <br /><br /><br />Stijn Van Dorpe (SVD): De titel vormt een mogelijke context voor de tentoonstelling. Hij refereert aan een omgeving waarin zaken heel selectief als ideologisch benoemd worden. Ideologie wordt daarbij dan dikwijls als iets extreem afgeschilderd. De poging bijvoorbeeld in Griekenland om vanuit linkse waarden alternatieven te ontwikkelen voor hun schrijnende economische situatie wordt als gevaarlijk en destabiliserend voorgesteld. In onze hedendaagse politieke werkelijkheid daarentegen worden beslissingen steeds meer voorgesteld als noodzakelijk en niet als een ideologische keuze. Er wordt verdoezeld dat ook de neoliberale werkelijkheid die hoogtij viert niets anders is dan een ideologie. De titel kan gelezen worden als een oproep om ideologie opnieuw een plaats te geven. Het gaat uiteraard niet over het installeren van een bepaalde ideologie maar over de mogelijkheid om een politieke ruimte open te houden. <br /><br />NW: Je creëert een ruimte binnen de context van de kunst of het kunstinstituut om zaken kritisch in vraag te stellen. Je trekt ook een stuk sociale realiteit binnen in de tentoonstelling en betrekt mensen met uiteenlopende achtergronden bij het activeren van je werk. Tijdens de voorbereiding van deze tentoonstelling activeerde je het project A Bookcase al eens in Hotel Charleroi (2014). Hoe verhouden beide performances zich tot elkaar?<br /><br /><br /><span style="color: #444444;"><b>A Bookcase Aalst</b><br />Publieke performance met participatie van studenten houtbewerking uit KTA De Voorstad die een boekenkast monteren tijdens het openingsevent van de tentoonstelling. Gelijklopend met de duur van de montage voeren in dezelfde ruimte muzikanten live een concert op. De kast en de geluidsopname van de performance krijgt achteraf als een autonome installatie een plek in de tentoonstelling. Een videowerk over de performance in Charleroi wordt in de Galerie getoond.</span><br /><br /><br />SVD: Het idee is inderdaad in aanloop naar deze tentoonstelling ontstaan, maar werd eerst uitgevoerd in Charleroi. In Netwerk vindt een her-contextualisering plaats. Een live performance midden in de stad Charleroi, in een openbare ruimte, is een andere situatie dan een uitvoering binnen in een kunstencentrum. De keuze om de performance in de overgang naar de tentoonstellingsruimte te laten plaatsvinden is niet vrijblijvend. Het werk bevindt zich zo op de rand tussen de ‘sacrale’ galerieruimte en de ontvangstruimte, het Netwerk café. Diep in de tentoonstelling is een film te zien van de uitvoering in Charleroi. De film bestaat uit twee delen. In eerste instantie krijg je een inkijk in mijn motivaties die aan de oorsprong van het werk liggen en in de conceptuele opbouw van het werk. Het tweede deel toont een weergave van de werkelijke fysieke gebeurtenis. Deze twee representaties komen in contrast te staan. De live performance die plaatsvindt in Netwerk en het document van Charleroi hebben een andere gedaante en lokken zodoende ook een andere ervaring uit. <br /><br /><br />NW: Het is interessant om te bekijken welke positie je in dit soort werk inneemt als kunstenaar. Het lijkt er eerder op dat je als kunstenaar participatieve projecten aangaat binnen een bepaald conceptueel kader om tot een artistiek werk te komen dan dat je als geëngageerde kunstenaar artistiek-sociaal werkt met bepaalde groepen. Hoe zie je dit zelf? <br /><br /><br />SVD: In zekere zin zou ik het sociaal-artistieke eerder verbinden met mijn opdracht als docent. In het lesgeven staat het educatieve voorop zonder dat er een uitkomst hoeft te zijn, dat is heel belangrijk. In mijn praktijk als kunstenaar is het uiteindelijke doel dat er een kunstwerk gerealiseerd wordt. Een kunstwerk functioneert voor mij op zijn best als een document met een educatief potentieel. Het staat tussen de kunstenaar en het publiek. De mensen met wie ik samenwerk zijn degenen die het kunstwerk letterlijk vorm geven. In die hoedanigheid verschijnen ze als personages maar tegelijk zijn ze bevoorrechte toeschouwers. Ze zitten zowel in het werk als tegelijk buiten het werk. Niet onbelangrijk is tevens dat ikzelf ook een personage vorm binnen de tentoonstelling. Dezelfde logica gaat dus evengoed op voor mezelf. De eerste keer dat ik binnen het tentoonstellingsparcours als personage verschijn is in de reeks werken rond Josef Albers. <br /><br /><br /><span style="color: #444444;"><b>Homage: Set Off, Earth Gold, Green-Gray shield B, Elected 1, At Night</b><br />In het Albers Museum te Bottrop nam de kunstenaar een serie foto’s vanop zijn eigen ooghoogte van schilderijen van Josef Albers uit zijn Homage to the Square serie. Door op deze manier de werken te reproduceren worden ze letterlijk in perspectief geplaatst waardoor een wit stukje muur zichtbaar wordt.</span><br /><br /><br />NW: Deze reeks komt voort uit jouw fascinatie voor het werk van Albers. Wat spreekt jou in het bijzonder aan in zijn werkwijze? <br /><br /><br />SVD: Mijn interesse voor de serie Homage to the Square heeft te maken met zijn specifieke omgang met materie en kleur. Enerzijds is er zijn opzet om de dingen te laten zijn, gebeuren; een attitude die zichtbaar wordt in het streven naar een ongecompliceerde schilderwijze en in het betekenisloos verschijnen van kleur. Anderzijds is er het gegeven van de contextualiteit. Kleuren worden anders gepercipieerd naargelang de kleur die ermee gecombineerd wordt. Er is dus de eigenheid en de omgeving die het werk maken, zonder opgelegde betekenis van buitenaf. Het spel dat tussen deze twee dualiteiten zichtbaar wordt vind ik heel mooi en qua betekenisgeving radicaal verschillend dan bijvoorbeeld de Amerikaanse geometrisch abstracten van de jaren 50. Wat ik doe is hier eigenlijk een nieuw element toevoegen, de positie van mezelf als waarnemer. De idee achter mijn werk bestaat erin dat ik een nieuw element toevoeg, namelijk dat van de waarnemer, toeschouwer. Door de specifieke wijze van fotograferen, ontstaat er opnieuw een soort perspectief, dat onderaan een stukje witte muur zichtbaar maakt. Met enige verbeelding kan je het beeld opvatten als een raam dat lichtjes opengeduwd wordt en zo krijg je een blik op een veld dat buiten het schilderij ligt.</span></div>
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<span style="font-family: "helvetica neue" , "arial" , "helvetica" , sans-serif;"><span style="color: #444444;"><b>Without Growth</b><br />Dit project werd gestart tijdens de winterschool Hotel Charleroi (2014). Voor sommige tentoonstellingen creëert Stijn Van Dorpe een boekje getiteld: Without Growth. Hij nodigt auteurs, activisten of onderzoekers uit om op een kritische en avontuurlijke manier te reflecteren over een alternatieve maatschappij die niet op een door economische groei gedirigeerde maatschappij gebaseerd is. Door deze teksten in de kunstruimte binnen te brengen, wil hij zowel de esthetiek van de economische ruimte onderzoeken als de esthetiek van de kunstruimte uitdagen. Het werk verkent het spanningsveld tussen esthetische waarden in de ruimte van de kunst en de esthetiek van onze economische ruimte gericht op groei. Voor Hotel Charleroi maakte hij een eerste boekje met een tekst van Filka Sekulova. Florence Scialom levert een essay voor de tweede editie van de reeks die in Netwerk wordt getoond.</span>NW: Kunnen we de reeks Without Growth lezen als het creëren van een ruimte die een belofte inhoudt naar andere mogelijke alternatieven om deze denkbaar en bespreekbaar te maken?<br /><br /><br />SVD: Je zou kunnen zeggen dat ik iets doe wat niet verwacht wordt van een kunstenaar. De schoenmaker die niet bij zijn leest blijft zeg maar. Dit is trouwens ook een beeld dat in het educatieve denken bij Jacques Rancière opduikt in de vorm van een ambachtsjongen die Hebreeuws leert en zo een betere ambachtsman wordt. Het onderzoek wordt wel degelijk gevoerd vanuit een oprechte interesse. Wat in beeld gebracht wordt zijn onderzoekgerichte of concrete situaties op kleine schaal die ergens de belofte van een betere wereld inhouden. Geplaatst in het sterk kunst-reflexieve kader dat toch wel eigen is aan deze tentoonstelling, raken deze tekstueel verbeelde werkelijkheden aan een dilemma eigen aan de kunst zelf. Ze verschijnen binnen een spanningsveld van de kunst als iets tussen een utopische ruimte en iets dat daadwerkelijk een verschil kan maken. <br /><br /><br /><span style="color: #444444;"><b>schilderij</b><br />Zeven jongeren werden door Stijn gevraagd om een beeld aan te leveren waarmee zij zich associëren en dat zij graag op een schilderij afgebeeld zouden zien. Die 7 foto’s worden door Lieve Dejonghe, een kunstenaar die het arbeidsintensieve ambacht van het fijnschilderen beheerst, in een compositie op doek aangebracht.</span><br /><br />NW: Je hebt ook een werk gecreëerd in samenwerking met jongeren uit Groep Intro vzw en een professionele fijnschilder. Verwijst dit werk naar de manier waarop in onze huidige samenleving wordt omgegaan met creativiteit, als een soort van utopie om je eigen leven vorm te geven in een systeem-bevestigend kader? Zoals bijvoorbeeld het geval is met jongeren actief op sociale media? <br /><br /><br />SVD: Het is niet zozeer dat het ernaar verwijst, het is eerder dat dergelijke kaders elementen vormen van het werk. Laat ons even kijken naar de opbouw ervan. Een belangrijk aspect van dit schilderij is haar maakproces. Enkele jongeren die het niet makkelijk hebben binnen de structuren van onze hedendaagse schoolomgeving werden in het project betrokken. Er werd hen gevraagd te beslissen wat afgebeeld zal worden op het tableau. Wat afgebeeld is, wordt doorgaans gepercipieerd als het belangrijkste element binnen een beeld. Zij kregen deze verantwoordelijkheid. Hun keuze van wat er op het schilderij kwam, gebeurde vrij snel. Daarna kwam de intensieve en accurate arbeid van het schilderen ten dienste van het beeld. Er zijn hier twee soorten van arbeid aan zet die in de totstandkoming van het werk vervat zitten en waaraan bepaalde waardeschalen kleven die hier in zekere zin anders toegewezen worden.
Daarnaast verschijnt het beeld aan de hand van verschillende overlappende culturele lagen. De jongeren verschijnen achter een soort scherm, in de gedaante van een uit de digitale wereld geplukt beeld zoals een platenlabel of een gespierde filmacteur. Maar ook de specifieke manier van schilderen, die er hier voor zorgt dat de digitale beelden weer omgezet worden in tastbare objecten, refereert aan een heel eigen segment binnen de culturele wereld, de wereld van het fijnschilderen, een wereld die los staat van de wereld waarin dit werk hier verschijnt. Maar in de uitwerking van het werk zit vermoedelijk ook een storing vervat. De kunstenaar die ik uitnodigde dit werk te realiseren, Lieve Dejonghe, verzet zich expliciet tegen iedere vorm van ‘labeling’ van haar werk. In sommige van haar stillevens uit zich dat in een expressieve toets in de zwarte achtergrond. Maar aangezien dit interview plaats vindt vooraleer ik het uiteindelijke werk te zien krijg, weet ik niet of dit ook hier het geval zal zijn.<br /><br /><br />NW: Een onderhuidse rode draad in jouw werk is de kritische bevraging van het neoliberale maatschappelijke model en de doorgeslagen vorm van kapitalisme die daarmee gepaard gaat. Deze sociaalkritische attitude fungeert als motor voor je artistieke onderzoek? <br /><br /><br />SVD: De neoliberale achtergrond vormt een bepalende factor in de manier waarop ik mijn weg zoek als kunstenaar in de (kunst)wereld. Het is zeker niet zo dat het een heel direct onderwerp vormt in de werken zelf. Het gaat eerder over het onderzoeken van hoe bepaalde machtsstructuren vervat zitten in ons ‘esthetisch’ denken. Ook in het project Luik-Guillemins spelen bepaalde machtsstructuren. Wat gebeurt er wanneer je de schotten van het museum of de galerie wegneemt?<br /><br /><br /><span style="color: #444444;"><b>Luik-Guillemins</b><br />Stijn Van Dorpe heeft een groep verzamelaars verbonden aan de artistieke coöperatieve Emergent uitgenodigd om met een schilderwerk uit hun persoonlijke collectie naar het station Luik-Guillemins te sporen. Gedurende een uur hebben zij met het werk onder de arm de rol gespeeld van een reiziger die op de trein richting Gent wacht. De performance werd door de kunstenaar gepercipieerd als een theaterstuk. Een foto-installatie vormt als een beeldverhaal een verslag van deze performance.</span><br /><br /><br />SVD: Het was heel opvallend hoe weinig mensen aandacht schonken aan het gebeuren. Bijna niemand leek dit event als een kunstproject te percipiëren en slechts enkelen legden twijfelend enige nieuwsgierigheid aan de dag. Vermoedelijk had geen enkele reiziger die daar op dat moment was een idee van de torenhoge marktwaarde van de werken die hier getoond werden. Dit maakte de kunstwerken immens kwetsbaar en het vergrootte hun gevoeligheid, maar tegelijk toont het paradoxaal ook de onzichtbaarheid van het kapitalistisch systeem waarin de kunst rotsvast verankerd zit. <br /><br /><br />NW: Tot slot wil ik het graag nog hebben over het werk ‘A Thinking Model’ Berlin dat – voor mij persoonlijk – het sluitstuk vormt van deze tentoonstelling. Als de titel het mentale portaal is om de tentoonstelling binnen te gaan, dan vind ik in dit werk een belangrijk esthetisch element, namelijk de passe-partout om deuren te openen naar andere mogelijke werelden. Wat is voor jou belangrijk in dit werk? <br /><br /><br /><span style="color: #444444;"><b>‘A Thinking Model’ Berlin</b><br />Stijn Van Dorpe creëerde dit werk tijdens zijn residentie in Berlijn. Hij verhoudt zich in deze tot een commerciële galerie, gesitueerd in een historisch gebouw van DDR-signatuur en tevens voormalig hoofdkantoor van de staatskrant Berliner Verlag. De galerie is niet zichtbaar van de straat, en profileert zich meer als een ‘kantoor’ of ‘werkplek’ dan als een traditionele tentoonstellingsplek. Van Dorpe was in eerste instantie gefascineerd door het samenvallen van deze exotisch aandoende, voormalig socialistische locatie (het gebouw) met een galerieprogramma dat zowel qua esthetische als theoretische referenties (Alain Badiou, Jacques Rancière) vertrouwd oogde, maar tegelijk verwantschap vertoonde met de beginselen van een ideologisch kader dat aan de grondslag ligt van het gebouw (het communisme). De installatie bestaat uit drie delen. Ten eerste zeven verschillende isometrieën en een perspectieftekening van het grote DDR-gebouw, waarbij alle toevoegingen of wijzigingen van na de Val van de Muur in 1989 weggelaten zijn. Ten tweede zijn in een analoog gedrukt krantje teksten over de galerie, die via het internet verstuurd werden, gebundeld en aangevuld met een mail van Stijn gericht aan de galeristen. Ten derde is er een afgietsel van de laatste originele klink in het gebouw, gevonden in de kelder. </span></span></div>
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<span style="font-family: "helvetica neue" , "arial" , "helvetica" , sans-serif;">SVD: Het werk is gebaseerd op een bezoek aan een kunstgalerie in Berlijn. De galerie is gehuisvest midden in een socialistisch bouwwerk uit het begin van de jaren 60. Ik was heel erg gefascineerd door de specifieke setting van deze galerie en door de connotaties die dit teweegbracht. Vooreerst was er het gebouw dat gezien kan worden als een representatie van communistische idealen, wat voor mij als vrij exotisch werd ervaren. Binnenin bevond zich een galerie die met een heel hedendaagse programmering een zekere vertrouwdheid opwekte. We kunnen hier niet spreken van een klassieke setting waarbij de galerie rechtstreeks aan de straat paalt, en er dus een direct contact is met de buitenwereld. Het gehuisvest zijn in een kantoorruimte associeerde ik in eerste instantie eerder met een werkplek dan met een klassieke ‘handelsplaats’. Niet onbelangrijk was ook de associatieve link die bij me opkwam met de het werk van o.a. Rancière en Badiou die in de kunstkritiek een vooraanstaande positie innemen en beiden het communistische ideaal van gelijkheid hoog in het vaandel dragen.
Het werk is dus opgevat als een documentaire weergave van een reële situatie of setting. De idee was van in het begin om hier een soort maquette van te maken, wat ik later als een denkmodel benoemd heb. Het model bestaat uit drie elementen die allen een spel spelen met het begrip tijd. De architectuur van het gebouw die ontdaan is van alle vernieuwingen na ‘89, waaronder het wegnemen van de kenmerkende voorgevel bijvoorbeeld, laat grote gaten achter in het beeld. <br /><br /><br />NW: Is de opnieuw gegoten aluminium deurklink dan het ontsnapte element, de vluchteling die de tand des tijds heeft doorstaan en ontsnapt is aan de harde realiteit van een dominante ideologische context…<br /><br /><br />SVD: Dat mag je zo zien als je wil. Een mooi idee is dat de deurklink voor mij verbonden was met de concièrge van het gebouw, de heer Krüger, zoals de tekeningen met de architect die ze vervaardigde en de galerie met de galeriehouder. De heer Krüger was reeds op post tijdens de beginjaren van het gebouw en gaf mij enkele rondleidingen. Spijtig genoeg kreeg de man tijdens mijn verblijf in Berlijn te horen dat hij 2 jaar voor zijn pensioen ontslagen werd.</span><br />
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<tr><td class="tr-caption" style="text-align: center;">2 (At Night)</td></tr>
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<tr><td class="tr-caption" style="text-align: center;">3</td></tr>
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<tr><td class="tr-caption" style="text-align: center;">4</td></tr>
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<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEg0ND26OL3lAx4n49JjmF6l5fOgKsDYkyOe9T9Cfe3TBCeVyDvtP2rRYaB9axIn-m4zF1FxIqq7t8Hcg5dTMe5YnUgQPgtdYisJOxus4LGb91jUqi1NzofflFGvhzGR8XeH4hUwVYV3h1Oo/s1600/SVD_Netwerk_2015-28.jpg" imageanchor="1" style="clear: right; margin-bottom: 1em; margin-left: auto; margin-right: auto;"><img border="0" height="133" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEg0ND26OL3lAx4n49JjmF6l5fOgKsDYkyOe9T9Cfe3TBCeVyDvtP2rRYaB9axIn-m4zF1FxIqq7t8Hcg5dTMe5YnUgQPgtdYisJOxus4LGb91jUqi1NzofflFGvhzGR8XeH4hUwVYV3h1Oo/s1600/SVD_Netwerk_2015-28.jpg" width="200" /></a></td></tr>
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<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEh5In38YQl-93705RXYXiy5xu9VV7ceba_AW7JML-UEsCztsRZbqi_D7gIZMwnc5caFkTgxELyjbyIu5VzAD7PBmTJBBlcihar-sFXD-tCWtKegG0jojA8Olf1Jgi5jfgsrD7Sp69AasN-G/s1600/SVD_Netwerk_2015-3.jpg" imageanchor="1" style="clear: left; margin-bottom: 1em; margin-left: auto; margin-right: auto;"><img border="0" height="320" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEh5In38YQl-93705RXYXiy5xu9VV7ceba_AW7JML-UEsCztsRZbqi_D7gIZMwnc5caFkTgxELyjbyIu5VzAD7PBmTJBBlcihar-sFXD-tCWtKegG0jojA8Olf1Jgi5jfgsrD7Sp69AasN-G/s1600/SVD_Netwerk_2015-3.jpg" width="320" /></a></td></tr>
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<tr><td class="tr-caption" style="font-size: 13px; text-align: center;">9</td></tr>
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<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEg0Ln4Fi5wlkGSg8rVOgUKgjXmCIgTmNV7sMLzojrdfLp-MslENfPKol0UWh0EcRqT9tmRhZwMPFKh3cq4v2jlXiNtvVqBtO0h99CniunZSz7NAEOLrF3-br0kIEIqXl1iF7MJd92ceiHfR/s1600/SVD_Netwerk_2015-5.jpg" imageanchor="1" style="clear: left; margin-bottom: 1em; margin-left: auto; margin-right: auto;"><img border="0" height="213" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEg0Ln4Fi5wlkGSg8rVOgUKgjXmCIgTmNV7sMLzojrdfLp-MslENfPKol0UWh0EcRqT9tmRhZwMPFKh3cq4v2jlXiNtvVqBtO0h99CniunZSz7NAEOLrF3-br0kIEIqXl1iF7MJd92ceiHfR/s1600/SVD_Netwerk_2015-5.jpg" width="320" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;">9</td></tr>
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<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhj3OOluwrs07Foleh9l5UEs1fv1I38X26bI5t9fKNljohgIAwwDAbb34tzv1O4ZUP6dSHBUtCWOvIaOJpLJGADQvlxXoqvzppVzUogmhgf9csV7e9rh6m_OGPPBl1Wdo9FY-31njv30j0I/s1600/SVD_Netwerk_2015-29.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" height="426" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhj3OOluwrs07Foleh9l5UEs1fv1I38X26bI5t9fKNljohgIAwwDAbb34tzv1O4ZUP6dSHBUtCWOvIaOJpLJGADQvlxXoqvzppVzUogmhgf9csV7e9rh6m_OGPPBl1Wdo9FY-31njv30j0I/s640/SVD_Netwerk_2015-29.jpg" width="640" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;">5</td></tr>
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<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEie-JsPh9-Yt7yLGO9nJ6k7P8lYTPJQ_OjdvNoNWII2r6SlIp4x11yUmamsLf9QCTReK5VHQY5AshSyWPLVrs6c-PTqiwDxhyxpSPPYYMmXJ8Fx6QSWMbrnAxX-rR7iSXb4o2XNqpu9fNED/s1600/SVD_Netwerk_2015-34.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" height="425" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEie-JsPh9-Yt7yLGO9nJ6k7P8lYTPJQ_OjdvNoNWII2r6SlIp4x11yUmamsLf9QCTReK5VHQY5AshSyWPLVrs6c-PTqiwDxhyxpSPPYYMmXJ8Fx6QSWMbrnAxX-rR7iSXb4o2XNqpu9fNED/s1600/SVD_Netwerk_2015-34.jpg" width="640" /></a></td></tr>
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<tr><td class="tr-caption" style="text-align: center;">6</td></tr>
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<tr><td class="tr-caption" style="text-align: center;">7</td></tr>
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1 - Mondrian Mondrian Van Doesburg (2006)</div>
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<span style="font-family: "times" , "times new roman" , serif;">2 - Homage: Set Off, Earth Gold, Green-Gray shield B, Elected 1, At Night (thanks to the Josef and Annie Albers foundation and Albers Museum Bottrop) (2015)</span></div>
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<span style="font-family: "times" , "times new roman" , serif;">3 - Antwerpen Centraal (photos Tomas Uyttendaele) (2014)</span></div>
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<span style="font-family: "times" , "times new roman" , serif;">4 - Without Growth (2015)</span></div>
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<span style="font-family: "times" , "times new roman" , serif;">5 - 'A Bookcase Charleroi' (filmmontage in collaboration with Bas Schevers) (2014 - 2015)</span></div>
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<span style="font-family: "times" , "times new roman" , serif;">6 - painting (painted by Lieve Dejonghe) (2015)</span></div>
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<span style="font-family: "times" , "times new roman" , serif;">7 - Liège-Guillemins (photos Tomas Uyttendaele) (2015)</span></div>
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<span style="font-family: "times" , "times new roman" , serif;">8 - Boeken - Vazen (2015)</span></div>
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<span style="font-family: "times" , "times new roman" , serif;">9 - A Thinking Model 'Berlin' (drawings by Markus Tauber) (2014 - 2015)</span></div>
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<span style="font-family: "times" , "times new roman" , serif;">10 - A Thinking Model 'Ideology' (2008 ...)</span></div>
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<a href="http://stijnvandorpe.blogspot.be/2014/11/a-bookcase-hotel-charleroi-2014.html#more"><i>link: film 'A Bookcase, Charleroi'</i></a></div>
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<i style="background-color: white;"><a href="http://withoutgrowth.blogspot.be/2015/03/florence-scialom-netwerk-aalst.html">link: Florence Scialom - Netwerk Aalst - Without Growth </a></i></div>
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<i>external link:</i></div>
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<a href="http://www.netwerk-art.be/nl/exhibitions/1046/stijn-van-dorpe"><i>link: Netwerk Aalst</i></a></div>
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Unknownnoreply@blogger.comtag:blogger.com,1999:blog-4942194192480108747.post-49430916303958343402015-03-28T17:03:00.000+01:002015-09-15T18:51:30.653+02:00A Bookcase Aalst<div class="separator" style="clear: both; text-align: center;">
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjV73EgU41kLUIE1TW7C-xD6mwwdmrNLqjWQ4khj3LiVQbz8cLnjBRLD8G4iDqNAZtGddug0NFnxLQZxOyArPI0KZth8cC9Dntra3tlwosTbjXJn7D7_HaNfg9ZB5kevuKWdPC24M3ZUIjJ/s1600/Netwerk_Kast-97.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="400" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjV73EgU41kLUIE1TW7C-xD6mwwdmrNLqjWQ4khj3LiVQbz8cLnjBRLD8G4iDqNAZtGddug0NFnxLQZxOyArPI0KZth8cC9Dntra3tlwosTbjXJn7D7_HaNfg9ZB5kevuKWdPC24M3ZUIjJ/s400/Netwerk_Kast-97.jpg" width="265" /></a></div>
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performance in collaboration with KTA De Voorstad</div>
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<span style="font-size: x-small;">photo Tomas Uyttendaele</span></div>
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<a href="http://stijnvandorpe.blogspot.be/2015/03/netwerk-aalst-ideologie-aub-een.html#more"><span style="font-size: x-small;">link: text 'Ideology Please! A Thinking Model'</span></a></div>
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Unknownnoreply@blogger.com