'Replica' suggest a new reading of the body and the model as a pure image, a pure tool, without referring to any representative identity, hereby ignoring today's contemporary society of what the self should be. Lino refers strongly to American mid-century photographer William Mortensen, who states that a body is simply considered to be "a machine that needs adjustments. " According to Mortensen the body must be the basis, "representation of personality and emotion [...] are irrelevant and misleading". There is a certain dehumanization in Mortensen's approach to the model, a return of the body to an object without meaning, in front of the camera. Mortensen saw models as clay that form the image, a body was articulated only by the operator's intention. He wanted to strip the figure from its emotion and personality, so that we, as an audience, could consider the body as a formed prop and stare at the image as the essence, and not the subject. In Lino's case she is the model, the operator / photographer, the subject and the image at the same time. She is in complete control. She found a way to remove herself from representation and reduced her own body to a pure object and image, almost like a machine. 'Replica' is a manifestation of the artist's understanding of her role in front of and behind the camera. 'Replica' is a prescient of an approaching future in which identity will surrender to the carefree machine of image magnification.
"Three two one fire"'Indian Springs', shot between 2012 and 2013, por-trays the photographic fiction during a day in the life of a drone pilot. "At night I cut across the sandy terrain. With two hands on the steering wheel, the car shoots towards the inter-state to Indian Springs, where I pilot military drones. Grainy pixels spread all over the screen. Day and dreams get blurred, and I ask myself again, as I've done for always, whether I'm living in a dream or in reality. (...) Coffee machine, everyday gestures, settling into a leather armchair: vertical joystick, multiple screens console. The game starts, virtual reality-the grid on the screens grows larger and I venture down into the midst of the colored points, headed towards the convulsing horizon in the distance. Soon enough, I'm surrounded only by gridlines, I'm entirely inside it. I feel good. Every day I experience the same surprise at the first contact with the imperceptible of virtual matter. From my fixed position I'm invisible, unassailable, I dominate in close-up a vast territory. (...)"
The books included in the series Choreography as Conditioning are rooted in a cycle of work sessions entitled CASC at KASK, in which students work together with invited guests. They explore the notions of choreography, understood as ways of organizing subjects in their surroundings, and conditioning in both art-making and society-making. Where, how, and by whom are things organized and what kind of landscapes of experience are made (im)possible by the practices we enact and encounter?... Through Practices is written by artist researchers who have been involved in a three-day public symposium with the same title, exploring ecologies of attention, awareness, senses of participation, and agencies of practice. It presents resonances and sedimentations of individual, shared, and collective practices, mirroring different forms of participating and responding-diverse in/capacities, im/possibilities, and dis/interests as they appear in and through experience.
During seven years, 16 performers spread Lecture For Every One throughout Europe. They intervened in more than 300 different gatherings, from a corporate sales meeting to a brass-band rehearsal and a municipal council. As uninvited guests, they addressed every one with exactly the same text. Until now, the project has remained largely invisible to the wider public. This book now sheds light on the information and expertise Lecture For Every One has generated-feedback, stories and memories from a range of perspectives. It reflects on how places where people gather can become political instances, on the (im)possibility of addressing every one, and on the value of fiction in our daily lives. Sarah Vanhee is an artist, performer and writer. Her interdisciplinary work moves between the civilian space and the institutional arts sector, and is best known for its radical gestures and its engagement with non-dominant voices and narratives. Since 2007 she has created several onstage performances, (semi-)public interventions and site-specific works that have been widely presented internationally. With texts & contributions by: Adinda Van Geystelen, Anabela Almeida, Anne Thuot, Anton Wilsens, Bojan Djordjev, Carola Bärtschiger, Christine De Smedt, Christophe Slagmuylder, Daniel Blanga Gubbay, Deborah Hazler, Edith Goddeeris, Elina Pirinen, Evelyne Coussens, Gurur Ertem, Iiris Viirpalu, Ilse Ghekiere, Jan De Brabanter, Jan de Zutter, Joe Kelleher, Katja Dreyer, Kristien Van den Brande, Kristof Blom, Lara Barsaq, Lex Bohlmeijer, Linda Sepp, Mariel Supka, Marika Ingels, Matthieu Goeury, Mylène Lauzon, Robin Vanbesien, Salka Ardal Rosengren, Sarah Vanagt, Sarah Vanhee, Silvia Bottiroli, Taziana Pyson and many others.
Photographer Marie Déhé and writer Haydée Touitou team up to create We Have Been Meaning To, a book of sculptural poetry and poetic photographs. Words and images balance, push and attract our attention. A sensual softness and quiet passion show us pieces of skin and sky. Déhé and Touitou offer sunbeams through their words and images, making sounds in your head while flipping through the book. Daydreaming is made tangible.
This photographic statement is a chronological record of an obsessive four-day walk through one of the twentieth century's most battered cities. Rosa Smalen crisscrossed Berlin with her eyes and camera pointed down, unflinchingly recording the worn-out and often patchwork sidewalks that carried her along. The pavements of Berlin silently bear witness to great turmoil, and so does Smalen, who managed to recover from a coma after an accident that nearly took her life. Facing the site of a trauma exceeding her own, Smalen set out to keep it simple and focus on the literal ground beneath her feet, an act to which this book forms a determined and resilient testimonial. (Taco Hidde Bakker)
By means of a dialogue between the text and the visual material from the videos, Steyn Bergs and Emma van der Put want to take a critical look at how images are mobilised, not only to illustrate certain visions of the future, but also how they contribute to the creation of such visions-which are never 'neutral'-in the present. On the basis of the videos made by Van der Put, this publication focuses on the specific working and politics of images in the Noordwijk and the Expo area in Brussels. Within these locations, developments that are currently taking place throughout Europe (from property speculation to migration flows) manifest themselves in a concrete and local manner. This book is released in context of the solo exhibition "Mall of Europe" by Emma van der Put at Mu. Zee, Ostend.
In the early 1960s Oscar Niemeyer designed a complex in Tripoli that was intended to serve as a large exhibition centre and to be part of the Tripoli International Fair. The location used to be an immense?/vast orchard, full of oranges. Now here lies an abandoned complex of 15 structures, including?/?which include an outdoor theater, a concert hall, an atrium, an arch, a heliport and lodgings. The site is an example of futurist modernist architecture, unfortunately led to decay. The project was never finished due to technical problems, incoherent bud-gets and the Lebanese Civil War in 1975. Photographer Giovanna Silva visited the site and documented what is left, capturing the atmosphere, the fading colours, the leftover stones but nonetheless showing us the grandeur of what was once the centre of Tripoli's architecture.
The books included in the series Choreography as Conditioning are rooted in a cycle of work sessions entitled CASC at KASK, in which students work together with invited guests. They explore the notions of choreography, understood as ways of organizing subjects in their surroundings, and conditioning in both art-making and society-making. Where, how, and by whom are things organized and what kind of landscapes of experience are made (im)possible by the practices we enact and encounter?_x000D__x000D_The Orphans of Tar - A Speculative Opera answers the question posed in the second book by transforming life into voices and presenting possible mindsets through co-authoring a factual fiction. As such, it constitutes a mental space in which fictitious characters find an almost disturbing expansion of their thoughts. Accordingly, the book can be considered as an allegory of human thoughts as (possible) actions: what could happen becomes what does happen. For better and worse.
"I met Lilly when I was working at the Foire du Midi fair in Brussels," says Claude van Halen of his late partner, Liliane Maes. "I met her on the 14th of July 1995. The boss of a bar asked me, ' Claude do you want to go with her because her man is beating her? ' I said yes. I even left my job for her. I went with her and and we stayed together for so long, for 23 years. "Lilly passed away on 6th June 2018, Claude by her side till the end. The romance between them is kept alive through Vincen Beeckman's pictures of Claude and Lilly. They are pictures of love, small sequences of affection, of touching, holding, kissing and being together in each other's company.
In The Member of the Wedding, a 1946 novel by the American author Carson McCullers, the twelve-year-old protagonist Frankie Addams sighs: 'They were the two prettiest people I ever saw. Yet it was like I couldn't see all of them I wanted to see. My brains couldn't gather together quick enough and take it all in. And then they were gone. You see what I mean?' That Stief DeSmet 'understands' what Frankie means like no other, how could it be otherwise? What he invariably presents in his work, and again in Paradise, Prototypes & Other Deconstructions, is the fragmentary representation of something that is too agile and too fleeting in its totality - far too agile and fleeting - to be fully grasped. Paradoxically enough, that 'something' cannot be equated to what we often call the 'unreal' beauty of supremely attractive people, or to colourful skies filled with billowing clouds, or even with artistic masterpieces. Nor is it related, in a non-aesthetic sense, to the type of incident that is often characterised as 'too good to be true'. That 'something' is unambiguously real - the absolute reality, namely, of an animal. More specifically: a creature that is wild and non-domesticated. In DeSmet's work, this reality appears to be inherently flawed, or rather, it is too fleeting and agile to be seen and experienced, since we are such imperfect, torn and flawed beings. Our brains don't work fast enough, that is true, and furthermore, a new moment dawns with every blink of the eye, each one of which is diametrically opposed to its predecessor. When reality chooses, above all else, to reveal itself in the form of an animal, it perpetually eludes us - 'you see what I mean?' - and to such an extent that it no longer seems to exist. It is this fact that Stief DeSmet seeks to impress upon us with his work. (extract from the text of Christophe Vekeman)In collaboration with Be-Part Waregem
The books included in the series Choreography as Conditioning are rooted in a cycle of work sessions entitled CASC at KASK, in which students work together with invited guests. They explore the notions of choreography, understood as ways of organizing subjects in their surroundings, and conditioning in both art-making and society-making. Where, how, and by whom are things organized and what kind of landscapes of experience are made (im)possible by the practices we enact and encounter?Thinking Conditioning through Practice, the first book in this series, addresses the question of how these practices destabilize and (re)constitute the concept of conditioning through six writing processes performed by Alex Arteaga, Julia Barrios de la Mora, Julien Bruneau, Laetitia Gendre & Miram Rohde, Heike Langsdorf and Kristof Van Baarle.
In 2015 The Maarten Van Severen Foundation and the Department of Design of KASK / School of Arts Ghent decided to establish a chair with the aim of conveying the relevance and significance of Maarten Van Severen's work for today's designers. Every year a leading designer, whose work has an affinity with the work of Maarten Van Severen, will give a lecture and a masterclass. He or she will reflect on the common ground between their work and that of Maarten van Severen and on the qualities of his work in light of the current design culture. The first edition was in the hands of Erwan Bouroullec. In December 2016, Swiss designer Alfredo Häberli gave two lectures and during the same week he hosted a three-day masterclass with 10 students from 5 different art schools. After the masterclass, the participating students kept uploading images of their process on the MVSC blog. The result is a fascinating collection of things, which we proudly present as the second MVSC Cahier at Design museum Gent. It contains a transcription of Alfredo Häberli's lecture and a visual overview of the masterclass that documents the students' progress. Design museum Gent is a structural partner of the Maarten Van Severen Chair. Collaborating schools: KASK/School of Arts Ghent?, ENSAV - La Cambre, ?Design Academy Eindhoven?, Aalto University, Universität der Künste Berlin. Students participating in the book and exhibition: Ruth De Jaeger, Janne Claes, Anse Heestermans, Mathilde Pequeur, Corneel De Corte, Ariane Relander, Jonathan Chan, Mette Kahlos, Stefan Traeger, Maximilian Löw?.
"The lasting one, that didn't last, that still lasts" is an overview of Hannelore Van Dijcks most recent work. Van Dijck works with charcoal on paper and in situ. With text contributions by Michael Newman, Laura Stamps and Christophe Van Gerrewey. "When Van Dijck brings a new 'skin' to a space, by completely covering the walls with a drawing, or sometimes the floor or ceiling, she confounds expectations by doing the very opposite of what might be expected in a regular-sized drawing. As certain properties of the walls come to the fore, others are automatically hidden. She 'distorts' space. Time and time again, she will execute a tour de force that allows us to see what she sees, to view what she deems important. When, charcoal in hand, she finds her rhythm, she can draw for days, and long into the night. It is a form of craftsmanship and, with it, she brings the space to life. She is present even when absent. Her hand is, indeed, everywhere. By allowing us to share her unique perception of space, she confronts us with what we think we see. " (Laura Stamps)"Van Dijck's drawing is not the work of the day, but rather a nocturnal work, whether carried out during the day or not. Its light is not solar but lunar. " (Michael Newman)
This publication is a collaboration between the authors Bart Janssen, Koen Peeters and visual artist Dirk Zoete. This art project is based upon "Langs de wegen", the first novel of Streuvels. This publication is made in response to the residency of Janssen en Peeters at the writers residency "het Lijsternest" at Ingooigem, and of the residency of Zoete at Be-Part, platform for contemporary art in Waregem. Dit boek is een samenwerking tussen auteurs Bart Janssen en Koen Peeters en beeldend kunstenaar Dirk Zoete. Aan de basis van dit kunstenproject ligt Streuvels' debuutroman Langs de wegen. Het boek verschijnt naar aanleiding van het verblijf van Janssen en Peeters in de schrijversresidentie van het Lijsternest in Ingooigem, en van de residentie van Zoete in Be-Part, platform voor actuele kunst in Waregem. In collaboration with Be-Part en Lijsternest.
"After the Midst" is a multi-layered visual and textual interpretation of HOOGTIJ/laagtij, Gouvernement's performance-festival on rituals of celebration. Authors Jelle Martens and Raimundas Malaauskas started from the idea of "simultaneity" to observe, registrate & fictionalise all possible events that happened during those 10 days in July 2017 . "After the Midst" is anything but a factual report of an arts festival. Martens and and Malaauskas created their own stories, in which they allowed small details, fleeting moments and interactions with people, objects and performances. All possible ingredients were treated as of equal value. Just as the festival gradually transformed into a Gesamtkunstwerk of blending festive evidence, so the publication unbinds itself from disciplinary or chronological boundaries. Layer after layer, it seeks new interpretations, new possibilities, new connections. HOOGTIJ/laagtij Participating Artists: Joris Van de Moortel, Rutger De Vries,, Charlotte Adigéry, Nicole Twister ???????, Bert Jacobs, Micha Volders, Jaak DeDigitale, Pieter Ampe, Sibran Sampers, Nienke Baeckelandt, Boris Van den Eynden, Borokov Borokov, De Zwarte Zuster Fanfare, Gamelan Voices, Matthieu Ha, van Twolips, Sachli Gholamalizad, Sebastiaan Van den Branden, Lotte Vanhamel, Kim Snauwaert, Anyuta Wiazemsky. HOOGTIJ/laagtij & "After the Midst" became possible with the support of Stad Gent, Vlaamse Gemeenschap, Kunstencentrum Vooruit, Provincie Oost-Vlaanderen, SMartBe.
The Maasai tribe is one of the most photographed tribes across Africa, but pictures of them that cross the world are almost always from Western photographers who show a cliché like vision of the traditional jumping Maasai. 'My Maasai' is a photo publication in which photographers from Eastern Africa show their vision on the Maasai. It shows pictures of a rapper Maasai, a pilot Maasai, a lesbian Maasai, Maasai architecture, a female Maasai God and much more. This books fights the stereotype image of the jumping Maasai and shows at the same time why African photographers are so much better in photographing the topics in their own region. 'My Maasai' is an initiative of Jan Hoek, in collaboration with Kenyan based photographers; Sarah Waiswa (Uganda), Joel Lukhovi (Kenya), Mohammed Althoum (Sudan) as well as students of the De-Capture Limited School of Photography.
Mastering the Curtains is the result of an intensive research of 2 perspectives in the Islamic Republic of Iran: on the one hand the public and transparent, on the other hand the hidden. The first approach focuses on the content and implementation in the public space of the old popular and politicized street theatre Tazi'yeh. The second approach explores the hidden world of the Sufis and their political difficulties within the current policy. Originally, these seeming opposites have common ground in Iranian collective memory through a rendition of social and spiritual resistance. The four-year research process involved continuous oscillation between exploration and self-reflection. Reflections on religion, other and I, position and opposition, private and public, transparency and control are combined with series of images as in a 'flow of consciousness'. The social potential of secular mysticism is distilled from this research. With the support of the Royal Academy of Fine Arts Antwerp.
Thorsten Brinkmann (1971, Herne (D)) calls himself a serial collector. In the storeroom at his studio you can find the most varied objects. He finds these objects on flea markets, in thrift shops, on the street, at refuse dumps, etc. They are part of middle-class domestic culture. He uses these objets trouvés to show how we relate to the objects that surround us. Objects define our identity and inform our culture, and as a result what belongs to us is of considerable importance. We shape and design the objects that surround us and in turn they shape us and the lives we live. The Great Cape Rinderhorn is a word-play which on the one hand refers to a monumental bull's horn, to a cape (a sleeveless garment) and Cape Horn at the southernmost extremity of Chile. Apart from a lighthouse, a house and a chapel, Cape Horn is a barren landscape. The Great Cape Rinderhorn has been shown at the Rice University Art Gallery in Houston, Texas (US) and Be-Part, Waregem (B). This publication is made with images from these two exhibitions and acts as a new chapter for this installation. With the support of Be-Part (Waregem) and Rice Gallery (Houston).
EN Why copy an album of postage stamps from the former Belgian Congo, page after page, stamp after stamp, and so precisely in terms of dimensions, illustrations and colours? Despite the initial confusion about Tuur and Flup Marinus' project, when confronted by the materiality it soon becomes clear that there's something interesting going on here. We see perfectly reproduced sheets; sets of exotic stamps in soft hues, protected by a transparent strip of varnish, and framed by an intrusive black background. Go on looking and this painterly appropriation becomes the magnifying glass and the mirror which unmask the colonial rhetoric. When we look at colonial collections some 60 years after decolonization, we are struck first and foremost by what is missing in those collections: the real world of colonial subjects and their relationships with Belgians (and other Westerners) and the structural inequalities between the two categories which made the passion for collecting possible. In some of his best stories Jorge Luis Borges showed the absurdity of attempts to create an imaginary world which corresponds fully to the reality or even to another imaginary world, such as Miguel de Cervantes' Don Quixote. Flup and Tuur Marinus' artwork does something similar: the patience and diligence with which they toiled to create it reminds us how absurd it was to try and collect the complete colonial world through collections and by extension how absurd it was to try and control and dominate politically an area as large as Western Europe through colonial rule. (Bambi Ceuppens)
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