Daniel Dewar & Grégory Gicquel

Body of Work

Author: Liene Aerts, Michael Capio, Dorotheée Dupuis, Elena Filipovic, Zoë Gray, Anne Langlois, Charlotte Laubard, Alice Motard, Lili Reynaud-Dewar,
Editor: Fabian Schöneich & Liz Allan
Year: 2019

Pages: 344
Size: 22 x 28 cm
Price: €39.80
Shipping cost: Belgium 2€ / Europe 5€ / Rest of the world 6€

Body of Work, Fabian Schöneich & Liz Allan, 2019, 22 x 28 cm, 344, €39.80, Belgium 2€ / Europe 5€ / Rest of the world 6€

Body of Work

Body of Work was published on the occasion of the exhibition, Digitalis at KIOSK. The book is a co-production with Kunsthalle Basel and Witte de With Center for Contemporary Art and is published by Portikus and Koenig Books.

Multi-layered, interwoven, constructed, worn down, humorous, sometimes irritating and unsettling, sleek, and often massive. These are only a few of the possible ways of capturing the work of Daniel Dewar and Grégory Gicquel in words, after their twenty years together as an artistic duo. This monograph looks back, and at the same time takes stock of what is situated in the present. It is a chronological inventory of the oeuvre and thus reveals its development, showing how the work has changed over two decades. The idea for this book first arose in a conversation with the artists when preparing an exhibition at Portikus in 2017. It was made possible through a collaboration with several additional art institutions, where the artists had solo exhibitions in 2016, 2017, and 2019 respectively.

Publication
click to open click to close
03.10.19—20:00

Artist talk with Susana Pilar

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Artist talk with Susana Pilar

During the evening opening there will be an artist talk with Susana Pilar.

This artist talk is organised in the framework of the exhibition Body Present by Susana Pilar, currently in KIOSK.

20.09.19 - 17.11.19

Susana Pilar

Opening: Friday 20 September 2019 - 20:00

Current exhibition

Body Present

Cuban artist Susana Pilar (1984, Havana) focuses on social and historical issues of gender and race by taking her own personal experiences and family history and relating them to contemporary concerns such as migration and violence against women. Her own body often takes a central place in her practice.

For the exhibition Body Present, Pilar creates a new performance that links Belgian colonial history to her own childhood, the particular demographics of her homeland, and her Afro- Cuban descent from slaves from Sierra Leone and Congo. The piece is presented alongside a series of photographs, videos and drawings. All of these works are based in performance and present the assertive, black female body.

Current exhibition
23.05.19—19:00

1M³: ‘102 Craters on Venus’, selected by Sophie Nys

book presentation
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1M³: '102 Craters on Venus', selected by Sophie Nys, 2019. Photo: Rachel Gruijters.
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1M³: '102 Craters on Venus', selected by Sophie Nys, 2019. Photo: Rachel Gruijters.
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1M³: '102 Craters on Venus', selected by Sophie Nys, 2019. Photo: Rachel Gruijters.
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1M³: '102 Craters on Venus', selected by Sophie Nys, 2019. Photo: Rachel Gruijters.
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1M³: '102 Craters on Venus', selected by Sophie Nys, 2019. Photo: Rachel Gruijters.
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1M³: '102 Craters on Venus', selected by Sophie Nys, 2019. Photo: Rachel Gruijters.

1M³: ‘102 Craters on Venus’, selected by Sophie Nys

De toelating van vrouwen in de oudste universiteit van Zwitserland was een tamelijk vertraagde ontwikkeling; pas vanaf 1890 werden vrouwen toegestaan hier te studeren. De eerste keer dat een vrouw een geassocieerde professor werd was in 1928. De benoeming van een vrouw tot bona fide professor gebeurde pas in 1964. De historische collegezaal van de universiteit in Basel is gedecoreerd met 102 schilderijen die voormalige professoren en onderzoekers afbeelden. Het laatste portret werd toegevoegd in 1914, resulterende in een voelbare afwezigheid van vrouwelijke wetenschappers.

In de kunstenaarspublicatie 102 craters on Venus onderzoekt Nys de historische uitsluiting van de verwezenlijkingen van vrouwelijke wetenschappers door vooraanstaande instituten van hoger onderwijs.

Op donderdag 23 mei 2019 om 19:00 zullen twaalf publicaties van de kunstenaarsboekencollectie van de Kunstenbibliotheek toegevoegd worden aan iedere biografie. Tevens wordt een addendum voor het gedoneerde kunstenaarsboek gepresenteerd. Deze presentatie valt samen met Sophie Nys’ tentoonstelling Family Nexus in KIOSK, die nog tot 14 juni te zien is.

book presentation
27.04.19 - 14.06.19

Sophie Nys

Opening: Friday 26 April 2019 - 20:00

Exhibition
© Sophie Nys, 'Odeon', 2018 (Courtesy Sophie Nys & Galerie Greta Meert)
© Sophie Nys, 'Odeon', 2018 (Courtesy Sophie Nys & Galerie Greta Meert)
Sophie Nys, 'Family Nexus', 2019. Photo: Tom Callemin
Sophie Nys, 'Family Nexus', 2019. Photo: Tom Callemin
Sophie Nys, 'Family Nexus', 2019. Photo: Tom Callemin
Sophie Nys, 'Family Nexus', 2019. Photo: Tom Callemin
Sophie Nys, 'Family Nexus', 2019. Photo: Tom Callemin
Sophie Nys, 'Family Nexus', 2019. Photo: Tom Callemin
Sophie Nys, 'Family Nexus', 2019. Photo: Tom Callemin
Sophie Nys, 'Family Nexus', 2019. Photo: Tom Callemin
Sophie Nys, 'Family Nexus', 2019. Photo: Tom Callemin
Sophie Nys, 'Family Nexus', 2019. Photo: Tom Callemin
Sophie Nys, 'Family Nexus', 2019. Photo: Tom Callemin
Sophie Nys, 'Family Nexus', 2019. Photo: Tom Callemin
Sophie Nys, 'Family Nexus', 2019. Photo: Tom Callemin
Sophie Nys, 'Family Nexus', 2019. Photo: Tom Callemin
Sophie Nys, 'Family Nexus', 2019. Photo: Tom Callemin
Sophie Nys, 'Family Nexus', 2019. Photo: Tom Callemin
Sophie Nys, 'Family Nexus', 2019. Photo: Tom Callemin
Sophie Nys, 'Family Nexus', 2019. Photo: Tom Callemin
Sophie Nys, 'Family Nexus', 2019. Photo: Tom Callemin
Sophie Nys, 'Family Nexus', 2019. Photo: Tom Callemin
Sophie Nys, 'Family Nexus', 2019. Photo: Tom Callemin
Sophie Nys, 'Family Nexus', 2019. Photo: Tom Callemin
Sophie Nys, 'Family Nexus', 2019. Photo: Tom Callemin
Sophie Nys, 'Family Nexus', 2019. Photo: Tom Callemin
Sophie Nys, 'Family Nexus', 2019. Photo: Tom Callemin
Sophie Nys, 'Family Nexus', 2019. Photo: Tom Callemin
Sophie Nys, 'Family Nexus', 2019. Photo: Tom Callemin
Sophie Nys, 'Family Nexus', 2019. Photo: Tom Callemin
Sophie Nys, 'Family Nexus', 2019. Photo: Tom Callemin
Sophie Nys, 'Family Nexus', 2019. Photo: Tom Callemin
Sophie Nys, 'Family Nexus', 2019. Photo: Tom Callemin
Sophie Nys, 'Family Nexus', 2019. Photo: Tom Callemin
Sophie Nys, 'Family Nexus', 2019. Photo: Tom Callemin
Sophie Nys, 'Family Nexus', 2019. Photo: Tom Callemin
Sophie Nys, 'Family Nexus', 2019. Photo: Tom Callemin
Sophie Nys, 'Family Nexus', 2019. Photo: Tom Callemin
Sophie Nys, 'Family Nexus', 2019. Photo: Tom Callemin
Sophie Nys, 'Family Nexus', 2019. Photo: Tom Callemin
Sophie Nys, 'Family Nexus', 2019. Photo: Tom Callemin
Sophie Nys, 'Family Nexus', 2019. Photo: Tom Callemin
Sophie Nys, 'Family Nexus', 2019. Photo: Tom Callemin
Sophie Nys, 'Family Nexus', 2019. Photo: Tom Callemin
Sophie Nys, 'Family Nexus', 2019. Photo: Tom Callemin
Sophie Nys, 'Family Nexus', 2019. Photo: Tom Callemin

Family Nexus

With the Family Nexus exhibition, artist Sophie Nys and KIOSK will be working together for the second time. KIOSK invited Nys in 2008, when still located in the outdoor pavilion. For that occasion, Nys purchased a metal time capsule, put the history of the exhibition space into the capsule and buried it underground. That capsule is still there, invisible, but at the same time, also permanent and unmistakably an intervention. It was also an example of the way in which Sophie Nys works with the specific history and architecture of a given place. This is once again true of her new exhibition at KIOSK, in which she attempts to unite a number of both minimal and monumental interventions, unique and serial objects, personal acquaintances and obscure figures from 16th-century prints, rural landscapes close to home and urban monuments, all under a single denominator.

Sophie Nys already intrigued us by giving her exhibition at KIOSK the title Family Nexus, together with an introductory image of chewing gum sticking to a knee and an invitation that she has transformed into a little book. That card in book form tells the story of four people, called Everybody, Somebody, Anybody and Nobody.

It is with such personal gestures that Sophie Nys introduces us to the interrelated works that she has brought together for this exhibition. Once we have entered KIOSK, we walk into a web that she has created from intrigues, connected and unconnected, where no position at all is neutral. Nys is interested in the relationships that evolve between her works, as well as in relation to the space and the visitor, and draws a parallel with a praxis or a household in which a set of unspoken rules and roles determine the dynamics. The title, Family Nexus, is understood in psychology to mean a vision that is shared by the majority of family members, often unconsciously and for several generations long, and is upheld in the context of events both within the family and in its relationship to the world.

Who is it who is playing the role of Nobody, the household’s so-called ‘identified patient’, or the scapegoat, and which pots and pans has slipped through this character’s fingers? Although all of these characters belong to the same family, the Family Nexus, they all seem to be pointing the finger at one another. The one is more someone, more or less unique, or dependent, or leaves a larger or smaller imprint of his or her presence, than the other. The smallest of the community, made by hand, supports the largest, industrially produced element. The others try to get a foothold somewhere in between these caricatured extremes.

Adapted to a new context and scale, existing furniture designs or industrial objects become expressions of a personal thought, characters in Sophie Nys’ own story. This game of observing, rehashing and deduplicating is characteristic of Nys’ oeuvre, and in the course of time, as does every individual family, this collection of related works displays a conscious or unconscious nexus. The arrangement that results is her (self-)critical and humorous way of telling something about her own artistic practice, the relations that we undertake with one another, as well as about institutional mechanisms.

31.03.19-31.03.19

Julien Creuzet: performance

performance
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© Julien Creuzet (photo: Tom Callemin)
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Performance Julien Creuzet. Photo: Flor Maesen.
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Performance Julien Creuzet. Photo: Flor Maesen.
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Performance Julien Creuzet. Photo: Flor Maesen.
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Performance Julien Creuzet. Photo: Flor Maesen.
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Performance Julien Creuzet. Photo: Flor Maesen.
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Performance Julien Creuzet. Photo: Flor Maesen.
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Performance Julien Creuzet. Photo: Flor Maesen.

Julien Creuzet: performance

Julien Creuzet invites us to bob along to a Caribbean rhythm. Surrender to the sounds, poetry and bodies that underlie this rhythm.

The performance is organized within the framework of Creuzet's solo exhibition at KIOSK, which will be on show until 14.04.2019.

09.02.19 - 14.04.19

Julien Creuzet

Opening: Friday 8 February 2019 - 20:00

Exhibition
© Julien Creuzet
© Julien Creuzet
Julien Creuzet, 'Great moment of transport, / body to body / boat on my dunes / boat on your back / hands on our waves / it's beautiful both / ocean flow (…)', 2019. Photo: Tom Callemin
Julien Creuzet, 'Great moment of transport, / body to body / boat on my dunes / boat on your back / hands on our waves / it's beautiful both / ocean flow (…)', 2019. Photo: Tom Callemin
Julien Creuzet, 'Great moment of transport, / body to body / boat on my dunes / boat on your back / hands on our waves / it's beautiful both / ocean flow (…)', 2019. Photo: Tom Callemin
Julien Creuzet, 'Great moment of transport, / body to body / boat on my dunes / boat on your back / hands on our waves / it's beautiful both / ocean flow (…)', 2019. Photo: Tom Callemin
Julien Creuzet, 'Great moment of transport, / body to body / boat on my dunes / boat on your back / hands on our waves / it's beautiful both / ocean flow (…)', 2019. Photo: Tom Callemin
Julien Creuzet, 'Great moment of transport, / body to body / boat on my dunes / boat on your back / hands on our waves / it's beautiful both / ocean flow (…)', 2019. Photo: Tom Callemin
Julien Creuzet, 'Great moment of transport, / body to body / boat on my dunes / boat on your back / hands on our waves / it's beautiful both / ocean flow (…)', 2019. Photo: Tom Callemin
Julien Creuzet, 'Great moment of transport, / body to body / boat on my dunes / boat on your back / hands on our waves / it's beautiful both / ocean flow (…)', 2019. Photo: Tom Callemin
Julien Creuzet, 'Great moment of transport, / body to body / boat on my dunes / boat on your back / hands on our waves / it's beautiful both / ocean flow (…)', 2019. Photo: Tom Callemin
Julien Creuzet, 'Great moment of transport, / body to body / boat on my dunes / boat on your back / hands on our waves / it's beautiful both / ocean flow (…)', 2019. Photo: Tom Callemin
Julien Creuzet, 'Great moment of transport, / body to body / boat on my dunes / boat on your back / hands on our waves / it's beautiful both / ocean flow (…)', 2019. Photo: Tom Callemin
Julien Creuzet, 'Great moment of transport, / body to body / boat on my dunes / boat on your back / hands on our waves / it's beautiful both / ocean flow (…)', 2019. Photo: Tom Callemin
Julien Creuzet, 'Great moment of transport, / body to body / boat on my dunes / boat on your back / hands on our waves / it's beautiful both / ocean flow (…)', 2019. Photo: Tom Callemin
Julien Creuzet, 'Great moment of transport, / body to body / boat on my dunes / boat on your back / hands on our waves / it's beautiful both / ocean flow (…)', 2019. Photo: Tom Callemin
Julien Creuzet, 'Great moment of transport, / body to body / boat on my dunes / boat on your back / hands on our waves / it's beautiful both / ocean flow (…)', 2019. Photo: Tom Callemin
Julien Creuzet, 'Great moment of transport, / body to body / boat on my dunes / boat on your back / hands on our waves / it's beautiful both / ocean flow (…)', 2019. Photo: Tom Callemin
Julien Creuzet, 'Great moment of transport, / body to body / boat on my dunes / boat on your back / hands on our waves / it's beautiful both / ocean flow (…)', 2019. Photo: Tom Callemin
Julien Creuzet, 'Great moment of transport, / body to body / boat on my dunes / boat on your back / hands on our waves / it's beautiful both / ocean flow (…)', 2019. Photo: Tom Callemin
Julien Creuzet, 'Great moment of transport, / body to body / boat on my dunes / boat on your back / hands on our waves / it's beautiful both / ocean flow (…)', 2019. Photo: Tom Callemin
Julien Creuzet, 'Great moment of transport, / body to body / boat on my dunes / boat on your back / hands on our waves / it's beautiful both / ocean flow (…)', 2019. Photo: Tom Callemin
Julien Creuzet, 'Great moment of transport, / body to body / boat on my dunes / boat on your back / hands on our waves / it's beautiful both / ocean flow (…)', 2019. Photo: Tom Callemin
Julien Creuzet, 'Great moment of transport, / body to body / boat on my dunes / boat on your back / hands on our waves / it's beautiful both / ocean flow (…)', 2019. Photo: Tom Callemin
Julien Creuzet, 'Great moment of transport, / body to body / boat on my dunes / boat on your back / hands on our waves / it's beautiful both / ocean flow (…)', 2019. Photo: Tom Callemin
Julien Creuzet, 'Great moment of transport, / body to body / boat on my dunes / boat on your back / hands on our waves / it's beautiful both / ocean flow (…)', 2019. Photo: Tom Callemin
Julien Creuzet, 'Great moment of transport, / body to body / boat on my dunes / boat on your back / hands on our waves / it's beautiful both / ocean flow (…)', 2019. Photo: Tom Callemin
Julien Creuzet, 'Great moment of transport, / body to body / boat on my dunes / boat on your back / hands on our waves / it's beautiful both / ocean flow (…)', 2019. Photo: Tom Callemin
Julien Creuzet, 'Great moment of transport, / body to body / boat on my dunes / boat on your back / hands on our waves / it's beautiful both / ocean flow (…)', 2019. Photo: Tom Callemin
Julien Creuzet, 'Great moment of transport, / body to body / boat on my dunes / boat on your back / hands on our waves / it's beautiful both / ocean flow (…)', 2019. Photo: Tom Callemin
Julien Creuzet, 'Great moment of transport, / body to body / boat on my dunes / boat on your back / hands on our waves / it's beautiful both / ocean flow (…)', 2019. Photo: Tom Callemin
Julien Creuzet, 'Great moment of transport, / body to body / boat on my dunes / boat on your back / hands on our waves / it's beautiful both / ocean flow (…)', 2019. Photo: Tom Callemin
Julien Creuzet, 'Great moment of transport, / body to body / boat on my dunes / boat on your back / hands on our waves / it's beautiful both / ocean flow (…)', 2019. Photo: Tom Callemin
Julien Creuzet, 'Great moment of transport, / body to body / boat on my dunes / boat on your back / hands on our waves / it's beautiful both / ocean flow (…)', 2019. Photo: Tom Callemin
Julien Creuzet, 'Great moment of transport, / body to body / boat on my dunes / boat on your back / hands on our waves / it's beautiful both / ocean flow (…)', 2019. Photo: Tom Callemin
Julien Creuzet, 'Great moment of transport, / body to body / boat on my dunes / boat on your back / hands on our waves / it's beautiful both / ocean flow (…)', 2019. Photo: Tom Callemin
Julien Creuzet, 'Great moment of transport, / body to body / boat on my dunes / boat on your back / hands on our waves / it's beautiful both / ocean flow (…)', 2019. Photo: Tom Callemin
Julien Creuzet, 'Great moment of transport, / body to body / boat on my dunes / boat on your back / hands on our waves / it's beautiful both / ocean flow (…)', 2019. Photo: Tom Callemin
Julien Creuzet, 'Great moment of transport, / body to body / boat on my dunes / boat on your back / hands on our waves / it's beautiful both / ocean flow (…)', 2019. Photo: Tom Callemin
Julien Creuzet, 'Great moment of transport, / body to body / boat on my dunes / boat on your back / hands on our waves / it's beautiful both / ocean flow (…)', 2019. Photo: Tom Callemin
Julien Creuzet, 'Great moment of transport, / body to body / boat on my dunes / boat on your back / hands on our waves / it's beautiful both / ocean flow (…)', 2019. Photo: Tom Callemin
Julien Creuzet, 'Great moment of transport, / body to body / boat on my dunes / boat on your back / hands on our waves / it's beautiful both / ocean flow (…)', 2019. Photo: Tom Callemin

Great moment of transport, / body to body / boat on my dunes / boat on your back / hands on our waves / it's beautiful both / ocean flow (…)

Julien Creuzet invites us along for a meandering narrative in which sounds — like the phrases from the exhibition title — resound and echo in the form of songs, poetry, performances, videos and installations. In the gallery, an almost hypnotic and sensuous stream of words and images comes alive that is rooted in the artist’s native island of Martinique.

Creuzet’s works refer to Martinique’s literary, cultural and geographic identity, and in particular to Édouard Glissant, the poet and writer who was also born on the Antillean island. According to Glissant, despite French dominance, Caribbean (cultural) identity is neither French, nor African, but Creole; a mix of different linguistic influences. In his writings, he develops and deploys the concepts of creolization and decentralization in opposition to globalization and universality. Creuzet follows suit, with an anti-colonial discourse and techniques of assemblage, collage and cultural appropriation as tools to re-fashion exoticism into something new.

Organic growth and the ‘rhythm’ of the Caribbean are the foundation for the central installation in KIOSK’s dome room: the base for the structure was constructed in 2018 in cooperation with Les Ateliers de Rennes, and is expanded with new extensions here. The work behaves much like a complex mangrove ecosystem from Martinique, with an expansive network of horizontal roots. The structure covered with pieces of cloth and screens echoes this theme, as do the man and woman from the video Lova Lova, Safari Go. The different sound tracks and textures, protagonists and identities are attracted, clash and are distorted. Like the mangrove’s aerial roots, they become part of a networked, living and breathing landscape.

The exhibition stands as a single visual and acoustic collage of complementary memories, both personal and collective, a mix of organic, synthetic and technological materials, French and Creole, high and low culture, with occasional political subtexts. Creuzet visualizes the encounter with the Other, which Glissant described in a way that resonates with this pluriform installation: “Rhizomatic thought is the principle behind what I call the Poetics of Relation, in which each and every identity is extended through a relationship with the Other.”

30.01.19-30.01.19

Nacht van de weerklank

event, concert
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© KRAAK / Rosa De Coster

Nacht van de weerklank

Nacht van de weerklank is ontstaan vanuit het idee de akoestische kwaliteiten van KIOSK te ontdekken en te vergroten. Gerard Herman, KRAAK en De Player slaan de handen ineen om een intense en intieme luisteromgeving te creëren. Door de hoeveelheid aan mogelijkheden van reverb en resonantie, biedt de ruimte een wisselwerking met de uitgenodigde muzikanten.

LINEUP
Christine Abdelnour
In Camera
Ash Kilmartin and Johanna Kotlaris

event, concert
27.01.19-27.12.18

Agency Assembly: ‘Thing 002304 (carpets)’

lecture
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Agency Assembly: ‘Thing 002304 (carpets)’

On January 27, 2019, as part of Assembly (KIOSK), Agency is convening a gathering of 'concerned' in order to discuss Thing 002304 (carpets).

Thing 002304 (carpets) concerns a conflict between the textile companies Artessuto and B&T Textilia about drawings of townscapes which are used in tapestries and cushions. During the case, Artessuto v. B&T Textilia on January 26, 2012, the Belgian Supreme Court had to decide if Artessuto’s woven carpets were sufficiently original to qualify for copyright protection as a work of art.

We will read collectively through fragments of the case reports. The purpose of this gathering is to revisit the moment of hesitation during the court case and to actualize the problem discussed in the case as a way to fabulate. Sari Depreeuw (copyright lawyer), Heike Dobbelaere (designer), Renée Strikkeling (textile designer), Wendy Van Wynsberghe (programmer and artist, etc. are invited by Agency in order to resonate on this case.

09.12.18-09.12.18

Agency Assembly: ‘Thing 001928 (Give Up Yer Aul Sins)’

lecture
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Agency Assembly: ‘Thing 001928 (Give Up Yer Aul Sins)’

On December 9, 2018, as part of Assembly (KIOSK), Agency is convening a gathering of 'concerned' in order to discuss Thing 001928 (Give Up Yer Aul Sins).

Thing 001928 (Give Up Yer Aul Sins) concerns a conflict between Pauline Gormley and EMI Records around a recording of bible stories told by children from Dublin. The tape recordings were made during Peig Cunningham's class for first communion, which Pauline Gormley attended when she was a six-year-old child. EMI used the recording without noticing the children for a CD introduced by Father Brian D'Arcy. During the court case, Pauline Gormley v. EMI on November 17, 1998, judge Barron at the Irish Supreme Court had to decide if Pauline Gormley’s recounting of the bible story And then there were twelve as a child in class was sufficiently original to be protected as a work of art.

We will collectively read fragments of the Irish court case reports. The purpose of this gathering is to revisit the moment of hesitation during the court case and to actualize the problem discussed in the case as a way to fabulate. Lucia Alonso (child), Mette Edvardsen (performer), Jan Masschelein (researcher on education) Dirk Vervenne (legal adviser) a.o. are invited by Agency in order to resonate.

01.12.18 - 27.01.19

Agency

Exhibition
Agency, 'Assembly (KIOSK)', 2018-2019. Photo: Tom Callemin
Agency, 'Assembly (KIOSK)', 2018-2019. Photo: Tom Callemin
Agency, 'Assembly (KIOSK)', 2018-2019. Photo: Tom Callemin
Agency, 'Assembly (KIOSK)', 2018-2019. Photo: Tom Callemin
Agency, 'Assembly (KIOSK)', 2018-2019. Photo: Tom Callemin
Agency, 'Assembly (KIOSK)', 2018-2019. Photo: Tom Callemin
Agency, 'Assembly (KIOSK)', 2018-2019. Photo: Rachel Gruijters
Agency, 'Assembly (KIOSK)', 2018-2019. Photo: Rachel Gruijters
Agency, 'Assembly (KIOSK)', 2018-2019. Photo: Tom Callemin
Agency, 'Assembly (KIOSK)', 2018-2019. Photo: Tom Callemin
Agency, 'Assembly (KIOSK)', 2018-2019. Photo: Rachel Gruijters
Agency, 'Assembly (KIOSK)', 2018-2019. Photo: Rachel Gruijters
Agency, 'Assembly (KIOSK)', 2018-2019. Photo: Tom Callemin
Agency, 'Assembly (KIOSK)', 2018-2019. Photo: Tom Callemin
Agency, 'Assembly (KIOSK)', 2018-2019. Photo: Tom Callemin
Agency, 'Assembly (KIOSK)', 2018-2019. Photo: Tom Callemin
Agency, 'Assembly (KIOSK)', 2018-2019. Photo: Rachel Gruijters
Agency, 'Assembly (KIOSK)', 2018-2019. Photo: Rachel Gruijters
Agency, 'Assembly (KIOSK)', 2018-2019. Photo: Rachel Gruijters
Agency, 'Assembly (KIOSK)', 2018-2019. Photo: Rachel Gruijters
Agency, 'Assembly (KIOSK)', 2018-2019. Photo: Tom Callemin
Agency, 'Assembly (KIOSK)', 2018-2019. Photo: Tom Callemin
Agency, 'Assembly (KIOSK)', 2018-2019. Photo: Tom Callemin
Agency, 'Assembly (KIOSK)', 2018-2019. Photo: Tom Callemin
Agency, 'Assembly (KIOSK)', 2018-2019. Photo: Tom Callemin
Agency, 'Assembly (KIOSK)', 2018-2019. Photo: Tom Callemin
Agency, 'Assembly (KIOSK)', 2018-2019. Photo: Tom Callemin
Agency, 'Assembly (KIOSK)', 2018-2019. Photo: Tom Callemin
Agency, 'Assembly (KIOSK)', 2018-2019. Photo: Tom Callemin
Agency, 'Assembly (KIOSK)', 2018-2019. Photo: Tom Callemin
Agency, 'Assembly (KIOSK)', 2018-2019. Photo: Tom Callemin
Agency, 'Assembly (KIOSK)', 2018-2019. Photo: Tom Callemin

Assembly (KIOSK)

For Assembly (KIOSK), Agency makes a selection from its list of controversies based on the question: What if common things would get mutually included within art practices? Intellectual property includes copyright, which protects “original works of authorship fixed in any tangible medium of expression”. However, copyright law hasn’t defined originality. Under the copyright framework, two elements are put forward in relation to originality. One, a work must be “the product of independent creation” and, two, must “exhibit at least some minimal degree of distinguishable variation”. This means that a “slavish copy” does not comply and that the work of authorship is seen as the author’s internal creative processes. The legal framework excludes the influence of external factors. But often it is difficult to distinguish internal from external factors during creative processes of making replicas. Courts have interpreted differently what originality requires. Some courts have granted protection for labour, skill, and investment on the “sweat of the brow” principle. This series of controversies will convene an assembly at KIOSK in order to bear witness.

Agency will organize the following two gatherings at KIOSK:

On December 9th, 2018, Agency will invoke the controversy Thing 001928 (Give up yer aul’ sins). It concerns a conflict between Pauline Gormley and EMI around the Give Up Yer Aul’ Sins, a tape of bible stories told by children from Dublin. During the court case, Pauline Gormley v. EMI on November 17, 1998, judge Barron at the Irish Supreme Court had to decide if Pauline Gormley’s recounting of the bible story And then there were twelve as a child was sufficiently original to be protected as a work of art.

And on January 27, 2019, the controversy Thing 002304 (carpets) will be presented. The conflict is between the textile companies Artessuto and B&T Textilia about drawings of townscapes which are used in tapestries and cushions. During the case, Artessuto v. B&T Textilia on January 26, 2012, the Belgian Supreme Court had to decide if Artessuto’s woven carpets were sufficiently original to qualify for copyright protection as a work of art.

For these gatherings, Agency invites a diverse group of concerned guests to respond to the controversy in question. The invited respondents come from different practices that are entangled in the case under discussion. The gathering will take place inside the exhibition and will last for approximately two hours. The purpose of the assembly is to re-invoke the moment of hesitation during the court case. This is meant not as much as a re-enactment of the judgment than as a "palaver" that prolongs the doubt during this case.

“Agency” is an international initiative that was founded in 1992 by Kobe Matthys and has office in Brussels. Agency constitutes a growing “list of things” that resist the radical split between the classifications of nature and culture. This list of things is mostly derived from juridical cases and controversies involving intellectual property (copyrights, patents, trademarks, etc.) in various territories around the world.
The concept of intellectual property relies upon the fundamental assumption of the split between culture and nature and consequently between expressions and ideas, creations and facts, subjects and objects, humans and non-humans, originality and tradition, individuals and collectives, mind and body, etc. Each “thing” or controversy included on the list bears witness to a hesitation in terms of these divisions.

24.11.18 - 25.11.18

Open Design Course for Refugees and Asylum Seekers

Opening: Friday 23 November 2018 - 15:00

Exhibition
© Open Design Course
© Open Design Course
'Open Design Course for Refugees and Asylum Seekers', 2018. Photo: Leontien Allemeersch
'Open Design Course for Refugees and Asylum Seekers', 2018. Photo: Leontien Allemeersch
'Open Design Course for Refugees and Asylum Seekers', 2018. Photo: Leontien Allemeersch
'Open Design Course for Refugees and Asylum Seekers', 2018. Photo: Leontien Allemeersch
'Open Design Course for Refugees and Asylum Seekers', 2018. Photo: Leontien Allemeersch
'Open Design Course for Refugees and Asylum Seekers', 2018. Photo: Leontien Allemeersch
'Open Design Course for Refugees and Asylum Seekers', 2018. Photo: Leontien Allemeersch
'Open Design Course for Refugees and Asylum Seekers', 2018. Photo: Leontien Allemeersch
'Open Design Course for Refugees and Asylum Seekers', 2018. Photo: Leontien Allemeersch
'Open Design Course for Refugees and Asylum Seekers', 2018. Photo: Leontien Allemeersch
'Open Design Course for Refugees and Asylum Seekers', 2018. Photo: Leontien Allemeersch
'Open Design Course for Refugees and Asylum Seekers', 2018. Photo: Leontien Allemeersch
'Open Design Course for Refugees and Asylum Seekers', 2018. Photo: Leontien Allemeersch
'Open Design Course for Refugees and Asylum Seekers', 2018. Photo: Leontien Allemeersch
'Open Design Course for Refugees and Asylum Seekers', 2018. Photo: Leontien Allemeersch
'Open Design Course for Refugees and Asylum Seekers', 2018. Photo: Leontien Allemeersch
'Open Design Course for Refugees and Asylum Seekers', 2018. Photo: Leontien Allemeersch
'Open Design Course for Refugees and Asylum Seekers', 2018. Photo: Leontien Allemeersch
'Open Design Course for Refugees and Asylum Seekers', 2018. Photo: Leontien Allemeersch
'Open Design Course for Refugees and Asylum Seekers', 2018. Photo: Leontien Allemeersch
'Open Design Course for Refugees and Asylum Seekers', 2018. Photo: Leontien Allemeersch
'Open Design Course for Refugees and Asylum Seekers', 2018. Photo: Leontien Allemeersch
'Open Design Course for Refugees and Asylum Seekers', 2018. Photo: Leontien Allemeersch
'Open Design Course for Refugees and Asylum Seekers', 2018. Photo: Leontien Allemeersch
'Open Design Course for Refugees and Asylum Seekers', 2018. Photo: Leontien Allemeersch
'Open Design Course for Refugees and Asylum Seekers', 2018. Photo: Leontien Allemeersch
'Open Design Course for Refugees and Asylum Seekers', 2018. Photo: Leontien Allemeersch
'Open Design Course for Refugees and Asylum Seekers', 2018. Photo: Leontien Allemeersch
'Open Design Course for Refugees and Asylum Seekers', 2018. Photo: Leontien Allemeersch
'Open Design Course for Refugees and Asylum Seekers', 2018. Photo: Leontien Allemeersch
'Open Design Course for Refugees and Asylum Seekers', 2018. Photo: Leontien Allemeersch
'Open Design Course for Refugees and Asylum Seekers', 2018. Photo: Leontien Allemeersch
'Open Design Course for Refugees and Asylum Seekers', 2018. Photo: Leontien Allemeersch
'Open Design Course for Refugees and Asylum Seekers', 2018. Photo: Leontien Allemeersch
'Open Design Course for Refugees and Asylum Seekers', 2018. Photo: Leontien Allemeersch
'Open Design Course for Refugees and Asylum Seekers', 2018. Photo: Leontien Allemeersch
'Open Design Course for Refugees and Asylum Seekers', 2018. Photo: Leontien Allemeersch
'Open Design Course for Refugees and Asylum Seekers', 2018. Photo: Leontien Allemeersch
'Open Design Course for Refugees and Asylum Seekers', 2018. Photo: Leontien Allemeersch
'Open Design Course for Refugees and Asylum Seekers', 2018. Photo: Leontien Allemeersch
'Open Design Course for Refugees and Asylum Seekers', 2018. Photo: Leontien Allemeersch
'Open Design Course for Refugees and Asylum Seekers', 2018. Photo: Leontien Allemeersch
'Open Design Course for Refugees and Asylum Seekers', 2018. Photo: Leontien Allemeersch
'Open Design Course for Refugees and Asylum Seekers', 2018. Photo: Leontien Allemeersch
'Open Design Course for Refugees and Asylum Seekers', 2018. Photo: Leontien Allemeersch
'Open Design Course for Refugees and Asylum Seekers', 2018. Photo: Leontien Allemeersch
'Open Design Course for Refugees and Asylum Seekers', 2018. Photo: Leontien Allemeersch
'Open Design Course for Refugees and Asylum Seekers', 2018. Photo: Leontien Allemeersch

Open Design Course voor vluchtelingen en asielzoekers

Mirra Markhaeva, Ayman Nasser, Kinda Ghannoum, Reza Panahi, Kelechi Johnbosco Ahunanya, Dessalegn Yared Yilma, Mohammed Tawfiq, Seyed, Mohamad Bayan Jilo, Marcus Bergner, Fatma Osman, Asaad Merza, Mohamed Rida Mahir, Elli Vassalou, Liselotte Van Daele, Elias Heuninck, Wendy van Wynsberghe, Sawsan Maher, Samer Alagha, Jerry Galle, Hala Elias Poles, Jozefien Mombaerts, Hendrik Leper en Wim Waelput.

Veel vluchtelingen hebben heel wat competenties om verder te studeren of te werken binnen een professionele sector maar de weg daarnaar toe is niet gemakkelijk. De Open Design opleiding voor Vluchtelingen en Asielzoekers is een co-creatie-platform waar leren, onderzoeken, en samenwerken centraal staan. De studenten hebben een boeiende acht weken achter de rug waar zij in contact kwamen met digitale expressie en open design vanuit tal van perspectieven. Binnen deze opleiding hebben zij elk een persoonlijk traject afgelegd met een eigen onderzoek. Dat resultaat, hun work in progress, wordt gepresenteerd in KIOSK op 23, 24 en 25 november.

De studenten zullen tijdens de opening aanwezig zijn om in gesprek te gaan over hun werk en proces. We verwelkomen u graag met een drankje tijdens de Openingsreceptie op 23 november 2018 om 15uur in KIOSK, Louis Pasteurlaan 2, 9000 Gent.

De opleiding werd georganiseerd door VZW Kunstensite (KIOSK) in samenwerking met KASK, School of Arts en ontstond vanuit de noodzaak om een constructief antwoord te bieden op de toestroom van vluchtelingen in 2016.

07.11.18-07.11.18

Daniel García Andújar

lecture
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© Daniel García Andújar, 'Plus ultra', 2018.

Daniel García Andújar

Daniel García Andújar (1966, Spain), a central figure in the Spanish internet art scene, will give a talk about his artistic practice and exhibition Plus ultra which is currently on show at KIOSK.

Since the late 80s he has been starting up internet projects and -collectives. These collectives hack and appropriate material from contemporary culture with the aim of revealing the often problematic politics or absurd logic of the internet. With open source and collective methods of production, they undermine the notion of material or intellectual property, or the newly acquired power of digital technology.

The exhibition Plus ultra will be open until 10pm.

Attending the lecture is free, no reservations required.

22.09.18 - 18.11.18

Daniel García Andújar

Opening: Friday 21 September 2018 - 19:00

Exhibition
© Daniel García Andújar. Photo: Titian, 'Equestrian Portrait of Charles V', 1548, Museo del Prado, Madrid
© Daniel García Andújar. Photo: Titian, 'Equestrian Portrait of Charles V', 1548, Museo del Prado, Madrid
Daniel García Andújar, 'Plus ultra', 2018. Photo: Tom Callemin
Daniel García Andújar, 'Plus ultra', 2018. Photo: Tom Callemin
Daniel García Andújar, 'Plus ultra', 2018. Photo: Tom Callemin
Daniel García Andújar, 'Plus ultra', 2018. Photo: Tom Callemin
Daniel García Andújar, 'Plus ultra', 2018. Photo: Tom Callemin
Daniel García Andújar, 'Plus ultra', 2018. Photo: Tom Callemin
Daniel García Andújar, 'Plus ultra', 2018. Photo: Tom Callemin
Daniel García Andújar, 'Plus ultra', 2018. Photo: Tom Callemin
Daniel García Andújar, 'Plus ultra', 2018. Photo: Tom Callemin
Daniel García Andújar, 'Plus ultra', 2018. Photo: Tom Callemin
Daniel García Andújar, 'Plus ultra', 2018. Photo: Tom Callemin
Daniel García Andújar, 'Plus ultra', 2018. Photo: Tom Callemin
Daniel García Andújar, 'Plus ultra', 2018. Photo: Tom Callemin
Daniel García Andújar, 'Plus ultra', 2018. Photo: Tom Callemin
Daniel García Andújar, 'Plus ultra', 2018. Photo: Tom Callemin
Daniel García Andújar, 'Plus ultra', 2018. Photo: Tom Callemin
Daniel García Andújar, 'Plus ultra', 2018. Photo: Tom Callemin
Daniel García Andújar, 'Plus ultra', 2018. Photo: Tom Callemin
Daniel García Andújar, 'Plus ultra', 2018. Photo: Tom Callemin
Daniel García Andújar, 'Plus ultra', 2018. Photo: Tom Callemin
Daniel García Andújar, 'Plus ultra', 2018. Photo: Tom Callemin
Daniel García Andújar, 'Plus ultra', 2018. Photo: Tom Callemin
Daniel García Andújar, 'Plus ultra', 2018. Photo: Tom Callemin
Daniel García Andújar, 'Plus ultra', 2018. Photo: Tom Callemin
Daniel García Andújar, 'Plus ultra', 2018. Photo: Tom Callemin
Daniel García Andújar, 'Plus ultra', 2018. Photo: Tom Callemin
Daniel García Andújar, 'Plus ultra', 2018. Photo: Tom Callemin
Daniel García Andújar, 'Plus ultra', 2018. Photo: Tom Callemin
Daniel García Andújar, 'Plus ultra', 2018. Photo: Tom Callemin
Daniel García Andújar, 'Plus ultra', 2018. Photo: Tom Callemin
Daniel García Andújar, 'Plus ultra', 2018. Photo: Tom Callemin
Daniel García Andújar, 'Plus ultra', 2018. Photo: Tom Callemin
Daniel García Andújar, 'Plus ultra', 2018. Photo: Tom Callemin
Daniel García Andújar, 'Plus ultra', 2018. Photo: Tom Callemin
Daniel García Andújar, 'Plus ultra', 2018. Photo: Tom Callemin
Daniel García Andújar, 'Plus ultra', 2018. Photo: Tom Callemin

Plus ultra

Daniel García Andújar (1966, Spain) is a central figure in the Spanish internet art scene. Since the late 80s he has been starting up internet projects, he is a founding member of the irational.org web collective, and developed Technologies To The People® (TTTP), a non-profit organization that provides people who lack the means with access to new technologies. These collectives hack and appropriate material from contemporary culture with the aim of revealing the often problematic politics or absurd logic of the internet. With open source and collective methods of production, they undermine the notion of material or intellectual property, or the newly acquired power of digital technology.

In a next phase, Andújar looks for ways to take these issues from their virtual server environments and translate them to posters, slideshows, sculptures, publications or interventions in public space. For his solo show at KIOSK, titled Plus ultra, he will bring several stories together in one of these multi-media installations. One topic he focuses on is a bit of shared history: Emperor Charles V, born in Ghent in 1500 and crowned King of Spain at age sixteen. It was Charles V who gave Spain its motto Plus ultra (Latin for ‘further beyond’). Andújar follows the emperor’s lead to historical moments of public display of power in Ghent, to frame these from his own perspective.

With the support of the Spanish Embassy in Belgium.

21.09.18-21.09.18

Parade Daniel García Andújar

parade
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© Daniel García Andújar
{media_caption}
Parade Daniel García Andújar. Foto: Rachel Gruijters
{media_caption}
Parade Daniel García Andújar. Foto: Rachel Gruijters
{media_caption}
Parade Daniel García Andújar. Foto: Rachel Gruijters
{media_caption}
Parade Daniel García Andújar. Foto: Rachel Gruijters
{media_caption}
Parade Daniel García Andújar. Foto: Rachel Gruijters
{media_caption}
Parade Daniel García Andújar. Foto: Rachel Gruijters
{media_caption}
Parade Daniel García Andújar. Foto: Rachel Gruijters
{media_caption}
Parade Daniel García Andújar. Foto: Rachel Gruijters

Parade Daniel García Andújar

Prior to the opening of Daniel García Andújar’s exhibition Plus ultra at KIOSK, you are cordially invited for a parade through Ghent with a life-sized Charles V on horseback, as depicted in the 16th-century painting by Titian. Accompanied by the workers’ anthem The International, we will pass by five historic sites in the city centre before reaching KIOSK, walking a unique tale of power, manipulation and resistance.

Friday 21 September
Start: 7 pm - Gravensteen, Sint-Veerleplein, Ghent
Route: Gravensteen, Vrijdagsmarkt, St Bavo Cathedral, Vooruit, Boekentoren
End: 8 pm - KIOSK, Louis Pasteurlaan 2

22.04.18 - 15.06.18

Latifa Echakhch

Exhibition
© Latifa Echakhch. Photo: archives kamel mennour, Paris/London
© Latifa Echakhch. Photo: archives kamel mennour, Paris/London
Latifa Echakhch, 'Falling, lovely and beautiful', 2018. Photo: Tom Callemin
Latifa Echakhch, 'Falling, lovely and beautiful', 2018. Photo: Tom Callemin
Latifa Echakhch, 'Falling, lovely and beautiful', 2018. Photo: Tom Callemin
Latifa Echakhch, 'Falling, lovely and beautiful', 2018. Photo: Tom Callemin
Latifa Echakhch, 'Falling, lovely and beautiful', 2018. Photo: Tom Callemin
Latifa Echakhch, 'Falling, lovely and beautiful', 2018. Photo: Tom Callemin
Latifa Echakhch, 'Falling, lovely and beautiful', 2018. Photo: Tom Callemin
Latifa Echakhch, 'Falling, lovely and beautiful', 2018. Photo: Tom Callemin
Latifa Echakhch, 'Falling, lovely and beautiful', 2018. Photo: Tom Callemin
Latifa Echakhch, 'Falling, lovely and beautiful', 2018. Photo: Tom Callemin
Latifa Echakhch, 'Falling, lovely and beautiful', 2018. Photo: Tom Callemin
Latifa Echakhch, 'Falling, lovely and beautiful', 2018. Photo: Tom Callemin
Latifa Echakhch, 'Falling, lovely and beautiful', 2018. Photo: Tom Callemin
Latifa Echakhch, 'Falling, lovely and beautiful', 2018. Photo: Tom Callemin
Latifa Echakhch, 'Falling, lovely and beautiful', 2018. Photo: Tom Callemin
Latifa Echakhch, 'Falling, lovely and beautiful', 2018. Photo: Tom Callemin
Latifa Echakhch, 'Falling, lovely and beautiful', 2018. Photo: Tom Callemin
Latifa Echakhch, 'Falling, lovely and beautiful', 2018. Photo: Tom Callemin
Latifa Echakhch, 'Falling, lovely and beautiful', 2018. Photo: Tom Callemin
Latifa Echakhch, 'Falling, lovely and beautiful', 2018. Photo: Tom Callemin
Latifa Echakhch, 'Falling, lovely and beautiful', 2018. Photo: Tom Callemin
Latifa Echakhch, 'Falling, lovely and beautiful', 2018. Photo: Tom Callemin
Latifa Echakhch, 'Falling, lovely and beautiful', 2018. Photo: Tom Callemin
Latifa Echakhch, 'Falling, lovely and beautiful', 2018. Photo: Tom Callemin
Latifa Echakhch, 'Falling, lovely and beautiful', 2018. Photo: Tom Callemin
Latifa Echakhch, 'Falling, lovely and beautiful', 2018. Photo: Tom Callemin
Latifa Echakhch, 'Falling, lovely and beautiful', 2018. Photo: Tom Callemin
Latifa Echakhch, 'Falling, lovely and beautiful', 2018. Photo: Tom Callemin
Latifa Echakhch, 'Falling, lovely and beautiful', 2018. Photo: Tom Callemin
Latifa Echakhch, 'Falling, lovely and beautiful', 2018. Photo: Tom Callemin
Latifa Echakhch, 'Falling, lovely and beautiful', 2018. Photo: Tom Callemin
Latifa Echakhch, 'Falling, lovely and beautiful', 2018. Photo: Tom Callemin
Latifa Echakhch, 'Falling, lovely and beautiful', 2018. Photo: Tom Callemin
Latifa Echakhch, 'Falling, lovely and beautiful', 2018. Photo: Tom Callemin
Latifa Echakhch, 'Falling, lovely and beautiful', 2018. Photo: Tom Callemin
Latifa Echakhch, 'Falling, lovely and beautiful', 2018. Photo: Tom Callemin
Latifa Echakhch, 'Falling, lovely and beautiful', 2018. Photo: Tom Callemin
Latifa Echakhch, 'Falling, lovely and beautiful', 2018. Photo: Tom Callemin
Latifa Echakhch, 'Falling, lovely and beautiful', 2018. Photo: Tom Callemin
Latifa Echakhch, 'Falling, lovely and beautiful', 2018. Photo: Tom Callemin

Falling, lovely and beautiful

Falling, lovely and beautiful is a new set of works by the French-Morrocan artist Latifa Echakhch (1974, living in Martigny, Switzerland) presented in KIOSK. An installation involving bronze bells, a performative video and a series of drawings in ink. For these works, the objects or texts have been stripped of their original meanings and contexts in order to make new interpretations possible. This method is typical for Echakhch's art practice. Driven by the necessity to counter certain prejudices, contradictions and stereotypes in our society, she isolates and questions materials that are symbolic for these phenomena. By giving them a new setting or a different space, new meanings or unexpected characteristics may arise.

Eckakhch appropriates, dismantles and re-represents daily materials and simple objects. Personal memories as well as shared history and cultural heritage like literature, philosophy and music serve as her sources. Her practice repeatedly questions preset notions about identity, nationality, religion and authenticity. She also examines her own fragmented, symbolically charged culture, using a language that is at the same time sensitive and powerful. Politics and poetry come together in installations and environments built up out of personal, historical and cultural references.

All this applies to the exposition Falling, lovely and beautiful as well, with the title freely referring to the Nick Cave song As I sat sadly by her side.

The monumental shattered bronze bells under the central dome, are exact replicas of the church bells from the destroyed church Lübeck, a German city bombed in 1942. While the church is now fully restored, the bells are left lying exactly where they hit the ground at the time.

While the pieces of fallen bells emphasise silence in terms of stilled notes or muted violence, in the side room piano notes resound amidst huge noise. For this video, Echakhch simultaneously evokes an act of creation and destruction by making someone play the piano while, at the same time, someone else splits the instrument to pieces with a sledgehammer.

In a similar way, Echakhch's series of ink drawings deconstructs Arabic poetry. On sheets of newspaper she ‘transcribed’ the original texts, but only copying the punctuation or vowels. Traditionally and linguistically though in Arabic poetry, exactly these 'auxiliary signs' essentially define the meaning for the whole sentence or the poem. Here, the sheets of newspaper are largely left blank, the signs as mere unreadable connotations. The text, in other words, becomes an abstract drawing, bearing within it the possibility of a whole new reading.

The exhibition is realized with the support of the Swiss Arts Council Pro Helvetia.

22.04.18-22.04.18

Presentation member edition 2018: Kelly Schacht

Edition presentation
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© Kelly Schacht, 2018

Presentation member edition 2018: Kelly Schacht

Every year KIOSK invites an artist to create a member edition, with this year's edition being by Kelly Schacht. The edition will be presented on April 22, during KASK / School of Arts' open house.

The edition It seems economical to make use of a character already in play refers to the scenario Kelly Schacht drafted for her eponymous exhibition in 2013 in KIOSK. As in an unfolding minimal scenography, walk-on actors engage in a dialogue with each other, a series of objects, the space and its visitors. This object (or utensil) depicts a specific encounter between a walk-on actor and a prop, and a father and his daughter while visiting the exhibition.

Kelly Schacht (°1983, Roeselare, Belgium) currently resides in Ghent. In 2013, KIOSK hosted her exhibition It seems economical to make use of a character already in play.

If you would like to support KIOSK, you can become a member of KIOSK for as little as €50! As part of your one-year membership, you will receive among others the 2018 artist edition by Kelly Schacht. For more information, please go to the "support"-page.

Edition presentation
17.02.18 - 08.04.18

Nida Sinnokrot

Opening: Friday 16 February 2018 - 20:00

Exhibition
© Nida Sinnokrot
© Nida Sinnokrot
Nida Sinnokrot, 'Exquisite Rotation', 2018. Photo: Tom Callemin
Nida Sinnokrot, 'Exquisite Rotation', 2018. Photo: Tom Callemin
Nida Sinnokrot, 'Exquisite Rotation', 2018. Photo: Tom Callemin
Nida Sinnokrot, 'Exquisite Rotation', 2018. Photo: Tom Callemin
Nida Sinnokrot, 'Exquisite Rotation', 2018. Photo: Tom Callemin
Nida Sinnokrot, 'Exquisite Rotation', 2018. Photo: Tom Callemin
Nida Sinnokrot, 'Exquisite Rotation', 2018. Photo: Tom Callemin
Nida Sinnokrot, 'Exquisite Rotation', 2018. Photo: Tom Callemin
Nida Sinnokrot, 'Exquisite Rotation', 2018. Photo: Tom Callemin
Nida Sinnokrot, 'Exquisite Rotation', 2018. Photo: Tom Callemin
Nida Sinnokrot, 'Exquisite Rotation', 2018. Photo: Tom Callemin
Nida Sinnokrot, 'Exquisite Rotation', 2018. Photo: Tom Callemin
Nida Sinnokrot, 'Exquisite Rotation', 2018. Photo: Tom Callemin
Nida Sinnokrot, 'Exquisite Rotation', 2018. Photo: Tom Callemin
Nida Sinnokrot, 'Exquisite Rotation', 2018. Photo: Nida Sinnokrot
Nida Sinnokrot, 'Exquisite Rotation', 2018. Photo: Nida Sinnokrot
Nida Sinnokrot, 'Exquisite Rotation', 2018. Photo: Tom Callemin
Nida Sinnokrot, 'Exquisite Rotation', 2018. Photo: Tom Callemin
Nida Sinnokrot, 'Exquisite Rotation', 2018. Photo: Tom Callemin
Nida Sinnokrot, 'Exquisite Rotation', 2018. Photo: Tom Callemin
Nida Sinnokrot, 'Exquisite Rotation', 2018. Photo: Tom Callemin
Nida Sinnokrot, 'Exquisite Rotation', 2018. Photo: Tom Callemin
Nida Sinnokrot, 'Exquisite Rotation', 2018. Photo: Tom Callemin
Nida Sinnokrot, 'Exquisite Rotation', 2018. Photo: Tom Callemin
Nida Sinnokrot, 'Exquisite Rotation', 2018. Photo: Tom Callemin
Nida Sinnokrot, 'Exquisite Rotation', 2018. Photo: Tom Callemin
Nida Sinnokrot, 'Exquisite Rotation', 2018. Photo: Tom Callemin
Nida Sinnokrot, 'Exquisite Rotation', 2018. Photo: Tom Callemin
Nida Sinnokrot, 'Exquisite Rotation', 2018. Photo: Tom Callemin
Nida Sinnokrot, 'Exquisite Rotation', 2018. Photo: Tom Callemin
Nida Sinnokrot, 'Exquisite Rotation', 2018. Photo: Tom Callemin
Nida Sinnokrot, 'Exquisite Rotation', 2018. Photo: Tom Callemin
Nida Sinnokrot, 'Exquisite Rotation', 2018. Photo: Tom Callemin
Nida Sinnokrot, 'Exquisite Rotation', 2018. Photo: Tom Callemin
Nida Sinnokrot, 'Exquisite Rotation', 2018. Photo: Nida Sinnokrot
Nida Sinnokrot, 'Exquisite Rotation', 2018. Photo: Nida Sinnokrot
Nida Sinnokrot, 'Exquisite Rotation', 2018. Photo: Tom Callemin
Nida Sinnokrot, 'Exquisite Rotation', 2018. Photo: Tom Callemin
Nida Sinnokrot, 'Exquisite Rotation', 2018. Photo: Tom Callemin
Nida Sinnokrot, 'Exquisite Rotation', 2018. Photo: Tom Callemin
Nida Sinnokrot, 'Exquisite Rotation', 2018. Photo: Tom Callemin
Nida Sinnokrot, 'Exquisite Rotation', 2018. Photo: Tom Callemin
Nida Sinnokrot, 'Exquisite Rotation', 2018. Photo: Tom Callemin
Nida Sinnokrot, 'Exquisite Rotation', 2018. Photo: Tom Callemin
Nida Sinnokrot, 'Exquisite Rotation', 2018. Photo: Tom Callemin
Nida Sinnokrot, 'Exquisite Rotation', 2018. Photo: Tom Callemin
Nida Sinnokrot, 'Exquisite Rotation', 2018. Photo: Tom Callemin
Nida Sinnokrot, 'Exquisite Rotation', 2018. Photo: Tom Callemin

Exquisite Rotation

Film maker and installation artist Nida Sinnokrot (1971, USA) presents a series of sculptural and cinematic installations in the KIOSK rooms. Some of the works on display are new, others were reinterpreted for this particular context, but all of them speak of the history, representation or political potential of ‘machines’, like photographic or cinematographic devices. Brought together in a single exhibition space under the title Exquisite Rotation, they will combine into a new, synchronized gesture.

The works in the show shed light on a different way of looking in which the linear time and fixed perspective that we associate with the traditional big screen, the photographic lens or the projection screen are disrupted. Sinnokrot aims to transcend the mechanisms of mass media such as photography and film, countering them with an array of new, critical narrative strategies. One of these is his recurrent attempt to capture several layers of implicit meaning in a single powerful, abstract image or poetic experience.

His camera functions as a tool to speak about his native country, displacement and the relation between technology and colonialism. In this sense, his desire to liberate the cinematic machine as we know it, is also an expression of his own hybrid identity. Sinnokrot is currently based in Jerusalem but, as the son of Palestinian parents, he spent his childhood in Algeria and moved to the United States as a teenager.

The exhibition is focused around a central installation in the dome room where moving images are projected horizontally instead of vertically, and the projection speed is determined by the interaction with the viewers. With each step, the film registers scratches, starting an irreversible process of deterioration. Sinnokrot describes this ‘horizontal cinema’ as a tool to address the material reality of violence and its mediation, manipulation and circulation: “This violence is reflected in the machine itself and the relationship between trauma and perception is materialized in its clash of technologies and systems. It’s cinema and war. It’s the experience of dispossessed and displaced peoples.”

The exhibition is organized within the framework of Under Construction Festival in Ghent and Ramallah.

15.02.18—20:00

Nida Sinnokrot

Lecture
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Nida Sinnokrot, ‘When Her Eyes Lifted’, 19981999. Courtesy the artist and Sharjah Art Gallery.
{media_caption}

Nida Sinnokrot

Nida Sinnokrot (1971) is a Palestinian-American artist, focusing on installation art, and filmmaker. Raised in Algeria, Sinnokrot relocated to the United States as an adolescent. In 2002, he won a Rockefeller Media Fellowship with which he relocated to Palestine to work. Subsequently, he directed an award-winning documentary on Palestinian resistance called Palestine Blues. The film concerns the destruction brought about in the Palestinian village of Jayyous by the IDF in their efforts to raise Israel's West Bank Barrier.

The lecture is organized by KASKlezingen. the exhibition is organized within the framework of Under Construction Festival in Ghent and Ramallah.

02.12.17 - 04.02.18

Nazgol Ansarinia

Exhibition
(c) Nazgol Ansarinia
(c) Nazgol Ansarinia
Nazgol Ansarinia, 'Fragments, Particles and the Mechanisms of Growth', 2017. Photo: Tom Callemin
Nazgol Ansarinia, 'Fragments, Particles and the Mechanisms of Growth', 2017. Photo: Tom Callemin
Nazgol Ansarinia, 'Fragments, Particles and the Mechanisms of Growth', 2017. Photo: Tom Callemin
Nazgol Ansarinia, 'Fragments, Particles and the Mechanisms of Growth', 2017. Photo: Tom Callemin
Nazgol Ansarinia, 'Fragments, Particles and the Mechanisms of Growth', 2017. Photo: Tom Callemin
Nazgol Ansarinia, 'Fragments, Particles and the Mechanisms of Growth', 2017. Photo: Tom Callemin
Nazgol Ansarinia, 'Fragments, Particles and the Mechanisms of Growth', 2017. Photo: Tom Callemin
Nazgol Ansarinia, 'Fragments, Particles and the Mechanisms of Growth', 2017. Photo: Tom Callemin
Nazgol Ansarinia, 'Fragments, Particles and the Mechanisms of Growth', 2017. Photo: Tom Callemin
Nazgol Ansarinia, 'Fragments, Particles and the Mechanisms of Growth', 2017. Photo: Tom Callemin
Nazgol Ansarinia, 'Fragments, Particles and the Mechanisms of Growth', 2017. Photo: Tom Callemin
Nazgol Ansarinia, 'Fragments, Particles and the Mechanisms of Growth', 2017. Photo: Tom Callemin
Nazgol Ansarinia, 'Fragments, Particles and the Mechanisms of Growth', 2017. Photo: Tom Callemin
Nazgol Ansarinia, 'Fragments, Particles and the Mechanisms of Growth', 2017. Photo: Tom Callemin
Nazgol Ansarinia, 'Fragments, Particles and the Mechanisms of Growth', 2017. Photo: Tom Callemin
Nazgol Ansarinia, 'Fragments, Particles and the Mechanisms of Growth', 2017. Photo: Tom Callemin
Nazgol Ansarinia, 'Fragments, Particles and the Mechanisms of Growth', 2017. Photo: Tom Callemin
Nazgol Ansarinia, 'Fragments, Particles and the Mechanisms of Growth', 2017. Photo: Tom Callemin
Nazgol Ansarinia, 'Fragments, Particles and the Mechanisms of Growth', 2017. Photo: Tom Callemin
Nazgol Ansarinia, 'Fragments, Particles and the Mechanisms of Growth', 2017. Photo: Tom Callemin
Nazgol Ansarinia, 'Fragments, Particles and the Mechanisms of Growth', 2017. Photo: Tom Callemin
Nazgol Ansarinia, 'Fragments, Particles and the Mechanisms of Growth', 2017. Photo: Tom Callemin
Nazgol Ansarinia, 'Fragments, Particles and the Mechanisms of Growth', 2017. Photo: Tom Callemin
Nazgol Ansarinia, 'Fragments, Particles and the Mechanisms of Growth', 2017. Photo: Tom Callemin
Nazgol Ansarinia, 'Fragments, Particles and the Mechanisms of Growth', 2017. Photo: Tom Callemin
Nazgol Ansarinia, 'Fragments, Particles and the Mechanisms of Growth', 2017. Photo: Tom Callemin
Nazgol Ansarinia, 'Fragments, Particles and the Mechanisms of Growth', 2017. Photo: Tom Callemin
Nazgol Ansarinia, 'Fragments, Particles and the Mechanisms of Growth', 2017. Photo: Tom Callemin
Nazgol Ansarinia, 'Fragments, Particles and the Mechanisms of Growth', 2017. Photo: Tom Callemin
Nazgol Ansarinia, 'Fragments, Particles and the Mechanisms of Growth', 2017. Photo: Tom Callemin
Nazgol Ansarinia, 'Fragments, Particles and the Mechanisms of Growth', 2017. Photo: Tom Callemin
Nazgol Ansarinia, 'Fragments, Particles and the Mechanisms of Growth', 2017. Photo: Tom Callemin
Nazgol Ansarinia, 'Fragments, Particles and the Mechanisms of Growth', 2017. Photo: Tom Callemin
Nazgol Ansarinia, 'Fragments, Particles and the Mechanisms of Growth', 2017. Photo: Tom Callemin
Nazgol Ansarinia, 'Fragments, Particles and the Mechanisms of Growth', 2017. Photo: Tom Callemin
Nazgol Ansarinia, 'Fragments, Particles and the Mechanisms of Growth', 2017. Photo: Tom Callemin
Nazgol Ansarinia, 'Fragments, Particles and the Mechanisms of Growth', 2017. Photo: Tom Callemin
Nazgol Ansarinia, 'Fragments, Particles and the Mechanisms of Growth', 2017. Photo: Tom Callemin
Nazgol Ansarinia, 'Fragments, Particles and the Mechanisms of Growth', 2017. Photo: Tom Callemin
Nazgol Ansarinia, 'Fragments, Particles and the Mechanisms of Growth', 2017. Photo: Tom Callemin

Fragments, Particles and the Mechanisms of Growth

Nazgol Ansarinia presents the exhibition Fragments, Particles and the Mechanisms of Growth at KIOSK. Through drawings, collages, sculptures, murals and works in textile, Iranian artist Nazgol Ansarinia draws a portrait of everyday life in her native city of Tehran, and of her own position within that context. She grows along with a city that now counts almost 14 million residents and whose face is rapidly changing. As capitalism’s sway over contemporary Iranian society grows ever more pervasive, there is housing shortage, the real estate market booms, houses make way for towering new apartment buildings and shopping malls, which results in a vicious paradoxical cycle of construction and deconstruction.

Each individual is a link in this process of ‘growth’ and is, like the city itself, subject to certain underlying codes and dynamics. It is the tension between her personal experience and public, regulated life in Tehran that always surfaces in Ansarinia’s work: “I have so many layers of memory from each corner of this city. Every part of this city is associated with memories from different stages in my life. I think that’s what makes this fast speed of construction so destructive in a way. It’s taking away our collective memory and individual memory with it. Neighbourhoods are changing so fast that they are unrecognizable. You feel lost when you can’t relate to a space.” (from “The Artist and their City”, The Guardian / Tate, 2016).

The artist turns a social system, an urban development or set of rules inside-out, dissects and interrogates them in order to reveal a collective consciousness or feeling in their reconstruction. In her exhibition at KIOSK, for instance, she films and analyses the demolition of a building in Tehran and incorporates the ‘traces’ of the process as video and sculpture. The video work Fragment 1, Demolishing buildings, buying waste registers how the building was torn down with shovel and pickaxe in 16 days. It is an attempt to capture the moment in between demolition and creation, and it illustrates the notion that for each new building there is an equal amount of material that is being shoved aside.

The rubble that is carried away in the video is symbolically reinstated as a new building brick at KIOSK. The rubble is laid open, sorted and reconstructed into new plaster and ceramic sculptures. Alongside these, the artist also presents a series of collages in which she weaves together articles on politics or economics from different Iranian newspapers into mosaics. The connecting thread that runs through all works in the show can be summed up with Ansarinia’s underlying thought that “I’m a deconstructionist who reconstructs the torn apart elements that show something new about something so banal that has gone unnoticed, so repetitive that it became part of routine life.” This is her way to get a handle on the innumerable mechanisms of growth that currently define this city, and to give them form.

Christoph Meier

C O CO

Author: Bettina Steinbrügge, Wim Waelput, Kevin Muhlen, Vanessa Joan Müller, Thomas D. Trummer, Anna Nowak
Editor: KIOSK / Kunstverein Hamburg / Casino Luxembourg
Year: 2017

Pages: 190
Size: 17,5 x 25,5 cm
Price: 28€
Shipping cost: Belgium 2€ / Europe 5€ / Rest of the world 6€

C O CO, KIOSK / Kunstverein Hamburg / Casino Luxembourg, 2017, 17,5 x 25,5 cm, 190, 28€, Belgium 2€ / Europe 5€ / Rest of the world 6€

C O CO

C O CO was published on the occasion of the eponymous exhibition at KIOSK. The book is a co-production with Kunstverein Hamburg and Casino Luxembourg and is published by Mousse Publishing.

The publication was presented at KIOSK, Thursday, October 12th, after a talk with curator Nadine Droste (in collaboration with the KASKlezingen lecture series).

The book can also be ordered online, via www.moussepublishing.com/?product=christoph-meier-c-o.

Publication
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12.10.17—20:00

Christoph Meier

Talk & book launch
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Christoph Meier

Christoph Meier presents the publication C O CO and talks to curator Nadine Droste about his eponymous exhibition at KIOSK (in collaboration with the KASKlezingen lecture series).

The monograph, a co-production with Kunstverein Hamburg and Casino Luxembourg, is published by Mousse Publishing.

The exhibition is open between 6 and 10 PM.

Talk & book launch

Christoph Meier

Untitled

2017

sculpture: variable dimensions + c-print: 21,4 x 16 cm (image) – 29,7 x 21 cm (paper)

600 EUR / 500 EUR for members (excl. shipping costs)

sold out
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Untitled, 2017, sculpture: variable dimensions + c-print: 21,4 x 16 cm (image) – 29,7 x 21 cm (paper), 600 EUR / 500 EUR for members (excl. shipping costs)

Untitled

Aluminium, plastic and c-print

1 of 6 unique copies

Each sculpture comes with a photograph, presenting a possible form of showcasing the sculpture

Not available anymore: the sculpture with the trolley and the ax.

(c) Christoph Meier
(c) Christoph Meier
Christoph Meier, ‘C O CO’, 2017. Photo: Tom Callemin
Christoph Meier, ‘C O CO’, 2017. Photo: Tom Callemin
Christoph Meier, ‘C O CO’, 2017. Photo: Tom Callemin
Christoph Meier, ‘C O CO’, 2017. Photo: Tom Callemin
Christoph Meier, ‘C O CO’, 2017. Photo: Tom Callemin
Christoph Meier, ‘C O CO’, 2017. Photo: Tom Callemin
Christoph Meier, ‘C O CO’, 2017. Photo: Tom Callemin
Christoph Meier, ‘C O CO’, 2017. Photo: Tom Callemin
Christoph Meier, ‘C O CO’, 2017. Photo: Tom Callemin
Christoph Meier, ‘C O CO’, 2017. Photo: Tom Callemin
Christoph Meier, ‘C O CO’, 2017. Photo: Tom Callemin
Christoph Meier, ‘C O CO’, 2017. Photo: Tom Callemin
Christoph Meier, ‘C O CO’, 2017. Photo: Tom Callemin
Christoph Meier, ‘C O CO’, 2017. Photo: Tom Callemin
Christoph Meier, ‘C O CO’, 2017. Photo: Tom Callemin
Christoph Meier, ‘C O CO’, 2017. Photo: Tom Callemin
Christoph Meier, ‘C O CO’, 2017. Photo: Tom Callemin
Christoph Meier, ‘C O CO’, 2017. Photo: Tom Callemin
Christoph Meier, ‘C O CO’, 2017. Photo: Tom Callemin
Christoph Meier, ‘C O CO’, 2017. Photo: Tom Callemin
Christoph Meier, ‘C O CO’, 2017. Photo: Tom Callemin
Christoph Meier, ‘C O CO’, 2017. Photo: Tom Callemin
Christoph Meier, ‘C O CO’, 2017. Photo: Tom Callemin
Christoph Meier, ‘C O CO’, 2017. Photo: Tom Callemin
Christoph Meier, ‘C O CO’, 2017. Photo: Tom Callemin
Christoph Meier, ‘C O CO’, 2017. Photo: Tom Callemin
Christoph Meier, ‘C O CO’, 2017. Photo: Tom Callemin
Christoph Meier, ‘C O CO’, 2017. Photo: Tom Callemin
Christoph Meier, ‘C O CO’, 2017. Photo: Tom Callemin
Christoph Meier, ‘C O CO’, 2017. Photo: Tom Callemin
Christoph Meier, ‘C O CO’, 2017. Photo: Tom Callemin
Christoph Meier, ‘C O CO’, 2017. Photo: Tom Callemin
Christoph Meier, ‘C O CO’, 2017. Photo: Tom Callemin
Christoph Meier, ‘C O CO’, 2017. Photo: Tom Callemin
Christoph Meier, ‘C O CO’, 2017. Photo: Tom Callemin
Christoph Meier, ‘C O CO’, 2017. Photo: Tom Callemin
Christoph Meier, ‘C O CO’, 2017. Photo: Tom Callemin
Christoph Meier, ‘C O CO’, 2017. Photo: Tom Callemin
Christoph Meier, ‘C O CO’, 2017. Photo: Tom Callemin
Christoph Meier, ‘C O CO’, 2017. Photo: Tom Callemin
Christoph Meier, ‘C O CO’, 2017. Photo: Tom Callemin
Christoph Meier, ‘C O CO’, 2017. Photo: Tom Callemin

C O CO

Austrian artist Christoph Meier (1980, based in Vienna) conceived his show C O CO as a search for potential forms of interplay between his work, the visitor, and the KIOSK exhibition spaces. Inspired by the particular architecture and history of the location, Meier presents new architectural and social spaces based on a bamboo grid structure, new and existing sculptures and a video piece.

The exhibition is a further step in the collaboration between the artist and three institutions; C O CO was developed from C & O, the show Meier presented at Kunstverein Hamburg last year, and will in turn become the blueprint for another exhibition at Casino Luxembourg next year. For each successive location, the specific space is the basis on which new byroads temporarily cross.

Meier’s practice investigates the exhibition context as a space for social interaction, and the way in which it produces and presents contemporary art. He searches for intermediate forms that accentuate the space but also, simultaneously, question it. This often results in invasive or absurdist interventions that create a tension between the existing institutional space and the architectural and/or sculptural work that the artist confronts it with.

Against the dominant central dome room of KIOSK – a former anatomical auditorium – Meier positions a seemingly light, primitive structure that cannot be surveyed in a single glance and that is every bit as peculiar and theatrical as the surrounding architecture. Bamboo sticks ostentatiously take over the space. Sticking to a rigorously fixed modular structure, they uncompromisingly and repetitively penetrate the architecture – regardless of brick or glass. Interior and exterior become interconnected. The grid imposed upon the existing space restricts the visitor’s movements but it also expands the field of vision. It adds a new frame within which we can project an infinite number of imaginary spaces.

The sculptures surrounding the bamboo piece are made of found or repurposed materials that carry associations mainly of craft, industry and technology. The container-shapes of folded or perforated metal sheets waver between open and closed, unique and serial, distant and immersive, functional and dysfunctional, minimalist and complex. This game of opposites, repetition, performance and deconstruction keeps the objects in constant motion, refusing univocal interpretations. Meier hopes to see his ‘social forms’ uncouple from what they are to go on a search, together with the visitor, for what they might be. This makes them into a stage, a plinth or table; that is, carriers of meaning open to dialogue.

On the occasion of the exhibition, a monograph, a co-production with Kunstverein Hamburg and Casino Luxembourg, is published by Mousse Publishing. This publication will be presented at KIOSK, Thursday, October 12th.

The exhibition is realized in collaboration with Kunstverein Hamburg & Casino Luxembourgh - Forum d’art contemporain. With the support of Bundeskanzleramt Österreich. I

C O CO

Author: Bettina Steinbrügge, Wim Waelput, Kevin Muhlen, Vanessa Joan Müller, Thomas D. Trummer, Anna Nowak

C O CO was published on the occasion of the eponymous exhibition at KIOSK. The book is a co-production with Kunstverein Hamburg and Casino Luxembourg and is published by Mousse Publishing.

The publication was presented at KIOSK, Thursday, October 12th, after a talk with curator Nadine Droste (in collaboration with the KASKlezingen lecture series).

The book can also be ordered online, via www.moussepublishing.com/?product=christoph-meier-c-o.

more

16.06.17—19:00

#SMYA Chapter 6: Muslim Feminism in Belgium and Secular Liberal Constraints

Keynote, panel discussion & slam poetry
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#SMYA Chapter 6: Muslim Feminism in Belgium and Secular Liberal Constraints

The last chapter within the framework of Show Me Your Archive and I Will Tell You Who is in Power starts with a lecture by Iman Lechkar, dr. in Social and Cultural Anthropology (2012, KUL). Lechkar sketches the contours of an Islamic feminism in Belgium by ascertaining which mechanisms hinder Muslim women and how they organize themselves to achieve their fundamental rights within secular liberal constraints.

The lecture will be followed by a slam poetry performance by Samira Saleh. She performed a.o. at Female Takeover in a Man’s World Show and the 44th Women’s Day. Since this year she has been Slambassadrice for Belgium at Next Generation Speaks.

The evening will close with a panel discussion with Fatma Arikoglu (Ella vzw — center for gender and ethnicity), Nella van den Brandt (postdoc in Humanities at Universiteit Utrecht) & Samira Saleh , moderated by Sophie Withaeckx (doctor in Philosophy and Moral Science and associated with RHEA).

This event is organized together with Sophia, Belgian Gender Studies Network, and will be held in the Cirque space in Dutch.

The evening, and the exhibition too, will end with a drink in KIOSK, where you can see the show until 22:00.

Keynote, panel discussion & slam poetry
07.06.17—19:00

#SMYA Chapter 5: Speak Up/Make Your Way

Film screening
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#SMYA Chapter 5: Speak Up/Make Your Way

The fifth chapter of Show Me Your Archive and I Will Tell You Who is in Power will comprise of a screening of participating artist Amandine Gay’s film Speak Up/Make Your Way (Ouvrir La Voix). The film will be introduced by Gay and followed by a Q&A with Amandine Gay and Po B.K. Lomami, one of the interviewees of the film and manager of socio-artistic projects and queer activist.

Ouvrir La Voix is a film about francophone European black women from the diaspora. It showcases art performances and compelling storytelling from those who are usually spoken of or spoken for. The film will therefore focus on our common experience related to our minority status in predominantly White ex-colonial countries, while highlighting the great diversity of our Afropean communities. Ouvrir La Voix aims at bringing to light our existence at the crossroad of multiple discriminations that go way beyond our ‘black women’ status. Ouvrir La Voix is a statement from francophone European black women so as to why we choose to reclaim the narrative about ourselves. We will not be silenced, we will not be erased and we are in charge of our representation.” - Amandine Gay

Amandine Gay (1984, FR) is a Montreal-based Afrofeminist filmmaker, activist, and journalist. The feature-length documentary Ouvrir La Voix is her directorial debut.

Po B. K. Lomami (1989, Mons, BE) is a Congo-descendant afroqueer, afrofeminist and anti-negrophobia activist and an independant DIY socio-artistic project manager. She (or they) is currently the head of cultural programming of the 49 Nord 6 Est - Frac Lorraine (Regional Contemporary Art Collection) in Metz, France.

*This conversation will be held in English

KIOSK will be open until 10 pm. You can visit the exhibition Show Me Your Archive and I Will Tell You Who is in Power before or after the event (free).

Film screening
01.06.17—19:00

#SMYA Chapter 4: A Short History of the Future

Lecture, performance
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#SMYA Chapter 4: A Short History of the Future

In a performance with live reading and video projection, Kapwani Kiwanga takes on the role of a fictional anthropologist. In this role, she speculates about the future and researches Afrofuturism as a tool to look at the past from an African or African diasporic perspective.

Kiwanga toys with the voice of authority. By using humor, she tries to disrupt hegemonic narratives and give voice to fictional stories.

Kapwani Kiwanga (1978, Ontario, CA) lives and works in Oaris (FR). She studied anthropology and comparative religious studies at McGill University (Montréal, CA). In her work, she struggles with Afrofuturism, anti-colonialism, collective memory, belief systems and ways in which different cultures approach the supernatural.

Lecture, performance
31.05.17—20:00

#SMYA Chapter 3: On ‘Cahiers du Grif’

Lecture
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#SMYA Chapter 3: On ‘Cahiers du Grif’

For the third chapter of ‘Show Me Your Archive and I Will Tell You Who is in Power’, Mara Montanaro will give a lecture on the journal ‘Cahiers du Grif’. These Cahiers du ‘Groupe de Recherche et d’Information Féministes’ was the first and most influential French-language feminist journal. In 1973 it was co-founded by Belgian writer, philosopher and feminist Françoise Collin.

The first cahier, titled ‘Le feminisme, pour quoi faire?’ (1973), questioned the young feminist movement and introduced an element of reflection in Belgian second-wave feminism, that up to then mostly consisted of manifestations (like the Dolle Minas). The editorial office, that comprised of only females, moved from Brussels to Paris in 1982.

Mara Montanaro is Doctor of Philosophy associated with LEGS (Laboratoire d’études de genre et sexualités), Université Paris 8. Her main research interests are contemporary French philosophy, feminist theories and gender and postcolonial studies.

Please note that this event will be in French.

29.04.17 - 16.06.17

Show Me Your Archive and I Will Tell You Who is in Power

Exhibition
"The Great Court," at the opening ceremony of the World Conference on the UN Decade for Women, University of Nairobi, Kenya, 1985. From “Forum '85 NGO Planning Committee Final Report: Nairobi, Kenya”. © Sophia Smith Collection, Smith College (Northampton, MA).
'Show Me Your Archive and I Will Tell You Who is in Power', 2017. Photo: Rachel Gruijters
'Show Me Your Archive and I Will Tell You Who is in Power', 2017. Photo: Rachel Gruijters
'Show Me Your Archive and I Will Tell You Who is in Power', 2017. Photo: Rachel Gruijters
'Show Me Your Archive and I Will Tell You Who is in Power', 2017. Photo: Rachel Gruijters
'Show Me Your Archive and I Will Tell You Who is in Power', 2017. Photo: Tom Callemin
'Show Me Your Archive and I Will Tell You Who is in Power', 2017. Photo: Tom Callemin
'Show Me Your Archive and I Will Tell You Who is in Power', 2017. Photo: Tom Callemin
'Show Me Your Archive and I Will Tell You Who is in Power', 2017. Photo: Tom Callemin
'Show Me Your Archive and I Will Tell You Who is in Power', 2017. Photo: Rachel Gruijters
'Show Me Your Archive and I Will Tell You Who is in Power', 2017. Photo: Rachel Gruijters
Saddie Choua, 'Am I The Only One Who Is Like Me?', 2017. Photo: Tom Callemin
Saddie Choua, 'Am I The Only One Who Is Like Me?', 2017. Photo: Tom Callemin
Kapwani Kiwanga, 'Tablets', 2017. Photo: Tom Callemin
Kapwani Kiwanga, 'Tablets', 2017. Photo: Tom Callemin
Eva Olthof, 'If it were my turn to speak', 2017. Photo: Tom Callemin
Eva Olthof, 'If it were my turn to speak', 2017. Photo: Tom Callemin
Study Group for Solidarity and TransActions, 'Prologue', 2017. Photo: Tom Callemin
Study Group for Solidarity and TransActions, 'Prologue', 2017. Photo: Tom Callemin
Marwa Arsanios, The exhibited material is part of an ongoing research by Arsanios and Dima Hamadeh on the autonomous Kurdish Women MovementPhoto: Tom Callemin
Marwa Arsanios, The exhibited material is part of an ongoing research by Arsanios and Dima Hamadeh on the autonomous Kurdish Women MovementPhoto: Tom Callemin
Amandine Gay, 'Ouvrir La Voix: les femmes noires se réapproprient la narration', 2017. Photo: Tom Callemin
Amandine Gay, 'Ouvrir La Voix: les femmes noires se réapproprient la narration', 2017. Photo: Tom Callemin
Saddie Choua, 'I’m sorry I can’t offer you tea, my hands are a little tight', 2014. Photo: Rachel Gruijters
Saddie Choua, 'I’m sorry I can’t offer you tea, my hands are a little tight', 2014. Photo: Rachel Gruijters
Françoise Dasques, 'La conférence
 des femmes - Nairobi 1985', 1985. Photo: Tom Callemin
Françoise Dasques, 'La conférence des femmes - Nairobi 1985', 1985. Photo: Tom Callemin

Show Me Your Archive and I Will Tell You Who is in Power combines an exhibition with a public program of lectures, panel discussions, performances and screenings to present stories from the history of feminist struggle. Issues of race, gender and class are covered from a so-called intersectional perspective, an approach that works to bring to the fore the combinations of discriminatory practices and the dynamics they engender. The project’s title refers to the 2009 lecture of the same name by Gloria Wekker, renowned Surinamese-Dutch scholar with an established reputation within the transnational and Black European feminist discourse.

Show Me Your Archive and I Will Tell You Who is in Power wishes to extend its scope beyond Western, white feminism and to trace the beginnings of a transnational and intersectional perspective in Belgian feminism and beyond. The project’s starting point was the Ghent Royal Academy of Fine Arts and its first (and thus far sole) female head Chantal De Smet, who held the position from 1989 to 1996. In the early 1970s, De Smet was a central character in the Ghent Dolle Minas, one of the first initiatives of the second feminist wave in Flanders. She was also one of the driving forces behind the Belgian Angela Davis Committee.

It was the second feminist wave that pushed the United Nations to taking measures to improve the position of women, resulting in the UN declaring the period 1976-1985 the decade of the woman and the organisation of women’s conferences in Mexico City (1975), Copenhagen (1980) and Nairobi (1985). FORUM ’85, the alternative conference of women’s movements and non-governmental organizations taking place alongside the official UN conference in Nairobi was a key moment in the history of transnational feminism. Attended by 14,000 women, activists and feminists from mainly non-Western countries, it was the first occasion of that scale to stage worldwide encounters and exchanges of ideas.

Documents from public archives that provide insight in these historical and local contexts make up the backbone of the exhibition. In addition, visual artists Marwa Arsanios, Saddie Choua, Amandine Gay, Kapwani Kiwanga, Ato Malinda, Eva Olthof and collective Study Group for Solidarity and TransActions were invited to make new work, connecting with these archives and themes and approach them from a postcolonial, transnational or politically emancipatory context. They offer new critical perspectives on history and in turn help to shape the guise of another new wave of feminism.

The public program wishes to think about how feminism can radically rethink notions such as class, gender and race from a postcolonial perspective. The program starts with a screening of Françoise Dasques’ film La conférence des femmes – Naïrobi (1985) about FORUM ’85, followed by a conversation between Paola Bacchetta (professor of Gender and Women’s Studies, University of California, Berkeley) and French political scientist Françoise Vergès.

Show Me Your Archive and I Will Tell You Who is in Power is organized by KIOSK and KASK / School of Arts Ghent in the context of The Uses of Art – The Legacy of 1848 and 1989, a project initiated by the museum confederation L’Internationale with the support of the Culture Programme of the European Union. The project is curated by Nataša Petrešin-Bachelez, Wim Waelput and assistant curator Rachelle Dufour.

In cooperation with Amsab-
ISG, AVG-Carhif and Sophia asbl/vzw.

04.05.17—19:00

#SMYA Chapter 2: Uitgekeken op de thuisblijvende vrouw

Film screening & talk
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Chantal De Smet during a demonstration for more childcare in Ghent, June 1980
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Jacqui Goegebeur

#SMYA Chapter 2: Uitgekeken op de thuisblijvende vrouw

The second chapter of Show Me Your Archive and I Will Tell You Who is in Power will focus on Second-Wave feminism, with a special interest in the Ghent Dolle Minas.

19:00
Conversation with Chantal De Smet and Jacqui Goegebeur about the Ghent Dolle Minas

From 1989 to 1996, Chantal De Smet was the first, and so far only, woman to be head of the Ghent Academy (now known as KASK/School of Arts). In 1977 De Smet wrote the title words "Op de thuisblijvende vrouw uitgekeken"* in the first of nine LeF-cahiers. Before she started LeF (Leftist and Feminist collective), De Smet took the lead in founding the Ghent Dolle Minas.

Jacqui Goegebeur, Dolle Mina of a later generation, graduated from African studies. Goegebeur was born in Rwanda — her mother black, her father white. After her father died when she was six months old, Belgian authorities took her away from her mother, to an orphanage in Savé (Rwanda), and later to several foster families in Belgium. Unwillingly this not only caused her to be a witness, but also a product of our colonial past. Testimonies of this were published in the book Mixed 2010, of which Goegebeur was the initiator.

20:30
Filmscreening of Chantal Akerman’s Jeanne Dielman, 23, quai du Commerce, 1080 Bruxelles, introduced by film historian Hilde D’haeyere.

In this film, for a little over three hours, we look at a stay-at-home mom. Chantal Akerman made the film at 25 years old, with an all-female crew. Upon its release in 1975, The New York Times called the film the “first masterpiece of the feminine in the history of the cinema”.

This event is organized in collaboration with KASKcinema and is part of Show Me Your Archive and I Will Tell You Who is in Power.

Film screening & talk
27.04.17—19:00

#SMYA Chapter 1: Who is speaking? Representation and non-representation in (art) politics today

Film screening & talk
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#SMYA Chapter 1: Who is speaking? Representation and non-representation in (art) politics today

The public program of Show Me Your Archive and I Will Tell You Who is in Power opens on April 27 with Chapter 1: Who is speaking? Representation and non-representation in (art) politics today.

19:00: Screening of 'La conférence des femmes, Naïrobi '85' by Françoise Dasques (KASKcinema)

20:30: Conversation between Paola Bacchetta and Françoise Vergès (Cirque)

In the framework of the programme of L’Internationale Dialogues*, the political scientist and feminist Françoise Vergès and feminist and queer scholar and sociologist Paola Bacchetta will be engaged in a conversation about who has the right to speak in our societies. They will address this question through looking into their personal and professional paths, and decolonization movements within feminist history and theory.

*Over the past four years, L’Internationale and its partners have worked in the current unstable geopolitical and ecological constellation to activate the values of culture and international collaboration. What specific contribution can museums and cultural institutions offer to counter the plural crisis of today’s fragmented globalised society? How can specificity, research, dialogue and difference be constructively activated in the institutions of culture to build lasting friendships between communities? This spring, The Uses of Art programme culminates in a series of simultaneous activities, linked through L’Internationale Dialogues: a rich programme of engaged professional dialogues. This programme is launched with a full day of live broadcasts of discussions, performances, and live tours through the new exhibitions, on 27 April, via L’Internationale Online.

The conversation will be held in English.
After the event we invite you for a small drink.

———

This event is organized in collaboration with KASKcinema and is part of Show Me Your Archive and I Will Tell You Who is in Power.
More information & full program:
http://www.kiosk.art/showmeyourarchive
http://www.internationaleonline.org/

Film screening & talk
27.04.17-16.06.17

Show Me Your Archive and I Will Tell You Who is in Power

Lectures, panel discussions, performances and screenings
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The opening ceremony of the World Conference on the UN Decade for Women, University of Nairobi, Kenya, 1985. (c) Sophia Smith Collection

Show Me Your Archive and I Will Tell You Who is in Power

Show Me Your Archive and I Will Tell You Who is in Power combines an exhibition with a public program of lectures, panel discussions, performances and screenings to present stories from the history of feminist struggle. Issues of race, gender and class are covered from a so-called intersectional perspective, an approach that works to bring to the fore the combinations of discriminatory practices and the dynamics they engender. The project’s title refers to the 2009 lecture of the same name by Gloria Wekker, renowned Surinamese-Dutch scholar with an established reputation within the transnational and Black European feminist discourse.

Show Me Your Archive and I Will Tell You Who is in Power wishes to extend its scope beyond Western, white feminism and to trace the potential origins of transnational and intersectional feminism in Belgium. The project’s starting point was the Ghent Royal Academy of Fine Arts and its first (and thus far sole) female head Chantal De Smet, who held the position from 1989 to 1996. In the early 1970s, De Smet was a central character in the Ghent Dolle Minas, one of the first initiatives of the second feminist wave in Flanders. She was also one of the driving forces behind the Belgian Angela Davis Committee.

It was the second feminist wave that pushed the United Nations to taking measures to improve the position of women, resulting in the UN declaring the period 1976-1985 the decade of the woman and the organisation of women’s conferences in Mexico City (1975), Copenhagen (1980) and Nairobi (1985). FORUM ’85, the alternative conference of women’s movements and non-governmental organizations taking place alongside the official UN conference in Nairobi was a key moment in the history of transnational feminism. Attended by 14,000 women, activists and feminists from mainly non-Western countries, it was the first occasion of that scale to stage worldwide encounters and exchanges of ideas.

Documents from public archives that provide insight in these historical and local contexts make up the backbone of the exhibition. In addition, visual artists Marwa Arsanios, Saddie Choua, Amandine Gay, Kapwani Kiwanga, Ato Malinda, Eva Olthof and collective Study Group for Solidarity and TransActions were invited to make new work, connecting with these archives and themes and approach them from a postcolonial, transnational or politically emancipatory context. They offer new critical perspectives on history and in turn help to shape the guise of another new wave of feminism.

The public program wishes to think about how feminism can radically rethink notions such as class, gender and race from a postcolonial perspective. The program starts with a screening of Françoise Dasques’ film Conférence des femmes – Naïrobi (1985) about FORUM ’85, followed by a conversation between Paola Bacchetta (professor of Gender and Women’s Studies, University of California, Berkeley) and French political scientist Françoise Vergès.

The complete program and the latest updates can be found at: www.kiosk.art/showmeyourarchive

Show Me Your Archive and I Will Tell You Who is in Power
is organized by KIOSK and KASK / School or Arts Ghent in the context of The Uses of Art – The Legacy of 1848 and 1989, a project initiated by the museum confederation L’Internationale with the support of the Culture Programme of the European Union.

In cooperation with Amsab-ISG, AVG-Carhif and Sophia asbl/vzw.

Lectures, panel discussions, performances and screenings
23.04.17—10:00

Ode de Kort ‘O froooom O toooo O’

Book presentation
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Ode de Kort ‘O froooom O toooo O’

In O froooom O toooo O, KASK Photography alumna Ode de Kort explores how an installation can resound in the spaces of a book. The installation 0O (2016) refers to a form, a character, a digit, a movement, a sound. It plays with the two- and three-dimensional and is at times almost imperceptible to the eye because of its meticulous integration in the architecture. From their positioning based on a photographic perspective, the forms look through each other. As such, the installation might even be regarded as a form of typography or choreography. The sculptures from 0O recur throughout this artist’s edition. Once again, the viewer engages with them, albeit the medium in/on/before/through/behind this happens this time is paper. Through perspective, manipulation, rhythm and movement, the circle undergoes several transformations.
In addition to the book launch, de Kort will also present some recent works in KIOSK.

Exhibition open between 10 am and 7 pm
Book launch at 5 pm

Book presentation

Runa Islam

Untitled

2015

photopolymer gravure on Somerset paper, 41,6 x 31 cm (image), 61,5 x 52,5 cm (print)

Contact us for the price and/or to order

© Runa Islam. Photo © White Cube (George Darrell)
© Runa Islam. Photo © White Cube (George Darrell)

Untitled, 2015, photopolymer gravure on Somerset paper, 41,6 x 31 cm (image), 61,5 x 52,5 cm (print),

Untitled

LAST COPY

Made during the build-up of the exhibition 'Anatomical Study' (2014).

11.02.17 - 16.04.17

Shilpa Gupta

Opening: Friday 10 February 2017 - 20:00

Exhibition
Shilpa Gupta, ‘1:444557’, steel, brass plate (2017). Photo Tom Callemin
Shilpa Gupta, ‘1:444557’, steel, brass plate (2017). Photo Tom Callemin
Shilpa Gupta, ‘1:444557’, steel, brass plate (2017). Photo Tom Callemin
Shilpa Gupta, ‘1:444557’, steel, brass plate (2017). Photo Tom Callemin
Shilpa Gupta, ‘24:00:01’, motion flapboard (2010-12). Photo Tom Callemin
Shilpa Gupta, ‘24:00:01’, motion flapboard (2010-12). Photo Tom Callemin
Shilpa Gupta, ‘1:2138’, vitrine, brass plate, shredded garment (2017) & ‘Untitled’, paper, pigment from marijuana, growing in vicinity of checkpoint (2017). Photo Tom Callemin
Shilpa Gupta, ‘1:2138’, vitrine, brass plate, shredded garment (2017) & ‘Untitled’, paper, pigment from marijuana, growing in vicinity of checkpoint (2017). Photo Tom Callemin
Shilpa Gupta, ‘1:2138’, vitrine, brass plate, shredded garment (2017). Photo Tom Callemin
Shilpa Gupta, ‘1:2138’, vitrine, brass plate, shredded garment (2017). Photo Tom Callemin
Shilpa Gupta,‘1:2138’, vitrine, brass plate, shredded garment (2017). Photo Tom Callemin
Shilpa Gupta,‘1:2138’, vitrine, brass plate, shredded garment (2017). Photo Tom Callemin
Shilpa Gupta,‘1:2138’, vitrine, brass plate, shredded garment (2017). Photo Tom Callemin
Shilpa Gupta,‘1:2138’, vitrine, brass plate, shredded garment (2017). Photo Tom Callemin
Shilpa Gupta,‘Untitled’, paper, pigment from marijuana, growing in vicinity of checkpoint (2017). Photo Tom Callemin
Shilpa Gupta,‘Untitled’, paper, pigment from marijuana, growing in vicinity of checkpoint (2017). Photo Tom Callemin
Shilpa Gupta,‘Untitled’, paper, pigment from marijuana, growing in vicinity of checkpoint (2017). Photo Tom Callemin
Shilpa Gupta,‘Untitled’, paper, pigment from marijuana, growing in vicinity of checkpoint (2017). Photo Tom Callemin
Shilpa Gupta,‘Untitled’, paper, pigment from marijuana, growing in vicinity of checkpoint (2017). Photo Tom Callemin
Shilpa Gupta,‘Untitled’, paper, pigment from marijuana, growing in vicinity of checkpoint (2017). Photo Tom Callemin
Shilpa Gupta,‘Untitled’, paper, pigment from marijuana, growing in vicinity of checkpoint (2017). Photo Tom Callemin
Shilpa Gupta,‘Untitled’, paper, pigment from marijuana, growing in vicinity of checkpoint (2017). Photo Tom Callemin
Shilpa Gupta,‘Untitled’, paper, pigment from marijuana, growing in vicinity of checkpoint (2017). Photo Tom Callemin
Shilpa Gupta,‘Untitled’, paper, pigment from marijuana, growing in vicinity of checkpoint (2017). Photo Tom Callemin
Shilpa Gupta,‘Untitled’, paper, pigment from marijuana, growing in vicinity of checkpoint (2017). Photo Tom Callemin
Shilpa Gupta,‘Untitled’, paper, pigment from marijuana, growing in vicinity of checkpoint (2017). Photo Tom Callemin
Shilpa Gupta,‘Untitled’, paper, pigment from marijuana, growing in vicinity of checkpoint (2017). Photo Tom Callemin
Shilpa Gupta,‘Untitled’, paper, pigment from marijuana, growing in vicinity of checkpoint (2017). Photo Tom Callemin
Shilpa Gupta,‘Untitled’, paper, pigment from marijuana, growing in vicinity of checkpoint (2017). Photo Tom Callemin
Shilpa Gupta,‘Untitled’, paper, pigment from marijuana, growing in vicinity of checkpoint (2017). Photo Tom Callemin
Shilpa Gupta, ‘Unnoticed’, photographs of border sky, fragmented spare motor parts (2017). Photo Tom Callemin
Shilpa Gupta, ‘Unnoticed’, photographs of border sky, fragmented spare motor parts (2017). Photo Tom Callemin
Shilpa Gupta, ‘Unnoticed’, photographs of border sky, fragmented spare motor parts (2017). Photo Tom Callemin
Shilpa Gupta, ‘Unnoticed’, photographs of border sky, fragmented spare motor parts (2017). Photo Tom Callemin
Shilpa Gupta, ‘Unnoticed’, photographs of border sky, fragmented spare motor parts (2017). Photo Tom Callemin
Shilpa Gupta, ‘Unnoticed’, photographs of border sky, fragmented spare motor parts (2017). Photo Tom Callemin
Shilpa Gupta, ‘Unnoticed’, photographs of border sky, fragmented spare motor parts (2017). Photo Tom Callemin
Shilpa Gupta, ‘Unnoticed’, photographs of border sky, fragmented spare motor parts (2017). Photo Tom Callemin
Shilpa Gupta, ‘Unnoticed’, photographs of border sky, fragmented spare motor parts (2017). Photo Tom Callemin
Shilpa Gupta, ‘Unnoticed’, photographs of border sky, fragmented spare motor parts (2017). Photo Tom Callemin
Shilpa Gupta, ‘Unnoticed’, photographs of border sky, fragmented spare motor parts (2017). Photo Tom Callemin
Shilpa Gupta, ‘Unnoticed’, photographs of border sky, fragmented spare motor parts (2017). Photo Tom Callemin
Shilpa Gupta, ‘Unnoticed’, photographs of border sky, fragmented spare motor parts (2017). Photo Tom Callemin
Shilpa Gupta, ‘Unnoticed’, photographs of border sky, fragmented spare motor parts (2017). Photo Tom Callemin
Shilpa Gupta, ‘Unnoticed’, photographs of border sky, fragmented spare motor parts (2017). Photo Tom Callemin
Shilpa Gupta, ‘Unnoticed’, photographs of border sky, fragmented spare motor parts (2017). Photo Tom Callemin
Shilpa Gupta, ‘Song of the Ground’, mechanical installation, borderland river stones (2017) & ‘Map Tracing # 1 – BE’, copper pipe (2017). Photo Tom Callemin
Shilpa Gupta, ‘Song of the Ground’, mechanical installation, borderland river stones (2017) & ‘Map Tracing # 1 – BE’, copper pipe (2017). Photo Tom Callemin
Shilpa Gupta, ‘Map Tracing # 1 – BE’, copper pipe (2017). Photo Tom Callemin
Shilpa Gupta, ‘Map Tracing # 1 – BE’, copper pipe (2017). Photo Tom Callemin
Shilpa Gupta, ‘Song of the Ground’, mechanical installation, borderland river stones (2017). Photo Tom Callemin
Shilpa Gupta, ‘Song of the Ground’, mechanical installation, borderland river stones (2017). Photo Tom Callemin
Shilpa Gupta, ‘Song of the Ground’, mechanical installation, borderland river stones (2017). Photo Tom Callemin
Shilpa Gupta, ‘Song of the Ground’, mechanical installation, borderland river stones (2017). Photo Tom Callemin

De Indiase kunstenaar Shilpa Gupta presenteert de solotentoonstelling Drawing in the Dark. De titel refereert aan de clandestiene bewegingen en praktijken in grensgebieden en aan de metafoor van de grens of lijn die meerdere hier tentoongestelde werken met elkaar verbindt. De tentoonstelling maakt deel uit van Gupta’s doorlopend onderzoek naar interrelaties tussen structuren, meer specifiek die van de staat en het individu, en hoe die herschaald worden op die plaatsen die zowel scheiding als periferie vormen. Verderbouwend op zes jaar onderzoek, voornamelijk in de grensgebieden van India en Bangladesh, vormt deze nieuwe reeks werken een uitbreiding van het My East is Your West-project dat Gupta in 2015 voor de Biënnale van Venetië ontwikkelde. In het najaar van 2016 reisde ze terug naar gebieden nabij de grensomheining waarmee India buurland Bangladesh omsingelt, de beruchte langste scheidingsbarrière in opbouw tussen twee natiestaten ter wereld. Volgens de kunstenaar staat het dagelijkse leven in die gebieden haaks op de overheidsintenties, en de stroom van mensen en goederen gaat voort, gedreven door historische en sociale affiniteiten, geografische continuïteit en economische nood.

De centraal opgestelde sculptuur 24:00:01 (flapbord, 2010-2012) wordt omringd door nieuwe werken die samen kunnen worden gezien als een bundeling van clandestiene verhalen. Sculpturen, tekeningen en foto’s schetsen samen een beeld van de subversieve, illegale en informele stroom van goederen, mensen en verlangens. Zo zijn het object omwonden met de rafels van een traditionele Dhakai Jamdani sari, de serie marihuana-tekeningen en de fotocollages met auto-onderdelen één voor één dragers van verhalen over ongeregistreerde reizen langs meanderende lijnen op de kaart.

Eerder dan een esthetische passieve beleving, probeert Gupta’s werk vragen uit te lokken bij de kijker. Ze start een dialoog op over de perceptie en de constructie van identiteit, alsook over thema’s die deze beïnvloeden zoals nationaliteit, technologie, religie, grenzen, conflicten, controle of censuur: “Ik ben geïnteresseerd in perceptie, en dus ook in hoe definities worden opgerokken of doorbroken – zij het door gender, geloof, of het concept van de natie. Er gaapt een kloof tussen de grotere constructie die een uniciteit voor zichzelf zoekt, en het fragment daarvan dat misschien iets helemaal anders betracht. En schijnbaar logische handelingen als aftekenen en meten, zijn mogelijks niet de weg naar oplossingen” (Shilpa Gupta in Indian Express, 2016).

In de grensgebieden die Gupta oproept in Drawing in the Dark tonen onze schijnbaar vaste wetten zich nog in constante beweging en voor discussie vatbaar. Het randgebied wordt getoond als een niemandsland waarbinnen zich praktijken en verhalen ‘in het donker’ ontwikkelen of als een parallel circuit van goederen dat ‘onzichtbaar’ onder het oog van de overheid opereert. De ‘wet’ van iedere identiteit wordt hier vervangen door een set voorwaardelijke regels waardoor er opnieuw speel- en denkruimte vrijkomt om onszelf in vraag te stellen.

De tentoonstelling is een coproductie van KIOSK, Bielefelder Kunstverein en Le centre d’art contemporain – la synagogue de Delme.

09.02.17—20:00

Shilpa Gupta

Lecture
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Shilpa Gupta, 'I live under your sky too', 2013
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Shilpa Gupta

In her lecture Shilpa Gupta will elaborate on her artistic practise and her exhibition at KIOSK.
This lecture is organized in collaboration with KASK lecture series.

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Page 5 from Dorothy Iannone's artist book 'An Icelandic Saga', 1978, 1983, 1986. Courtesy of the artist and Air de Paris, Paris
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Finissage with reading, 29.01.2017. Photo Rachel Gruijters
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Finissage with reading, 29.01.2017. Photo Rachel Gruijters
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Finissage with reading, 29.01.2017. Photo Rachel Gruijters

Dorothy Iannone

New Years drink & public reading from Dorothy Iannone's artist book "An Icelandic Saga" ((1978 (Part 1), 1983 (Part 2), 1986 (Part 3)) in collaboration with students from KASK DRAMA: Ezra Fieremans, Martijn Gielen, Joeri Happel, Arne Luiting & Rosie Sommers.

In the various phases of "An Icelandic Saga", Iannone looks back on her 1967 trip to Iceland, where she first met Dieter Roth. The “journey which seems to have made all other journeys possible”, as she calls it, commences when her ship arrives at Reykjavik: Iannone, her husband James Upham and Fluxus artist Emmett Williams are greeted by Roth, who is carrying “a very fresh fish, wrapped in newspaper” under his arm.

Finissage & reading
Dorothy Iannone, 'Lineage of Love', 2016. Photo: Tom Callemin
Dorothy Iannone, 'Lineage of Love', 2016. Photo: Tom Callemin
Dorothy Iannone, 'Lineage of Love', 2016. Photo: Tom Callemin
Dorothy Iannone, 'Lineage of Love', 2016. Photo: Tom Callemin
Dorothy Iannone, 'Lineage of Love', 2016. Photo: Tom Callemin
Dorothy Iannone, 'Lineage of Love', 2016. Photo: Tom Callemin
Dorothy Iannone, 'Lineage of Love', 2016. Photo: Tom Callemin
Dorothy Iannone, 'Lineage of Love', 2016. Photo: Tom Callemin
Dorothy Iannone, 'Lineage of Love', 2016. Photo: Tom Callemin
Dorothy Iannone, 'Lineage of Love', 2016. Photo: Tom Callemin
Dorothy Iannone, 'Lineage of Love', 2016. Photo: Tom Callemin
Dorothy Iannone, 'Lineage of Love', 2016. Photo: Tom Callemin
Dorothy Iannone, 'Lineage of Love', 2016. Photo: Tom Callemin
Dorothy Iannone, 'Lineage of Love', 2016. Photo: Tom Callemin
Dorothy Iannone, 'Lineage of Love', 2016. Photo: Tom Callemin
Dorothy Iannone, 'Lineage of Love', 2016. Photo: Tom Callemin
Dorothy Iannone, 'Lineage of Love', 2016. Photo: Tom Callemin
Dorothy Iannone, 'Lineage of Love', 2016. Photo: Tom Callemin
Dorothy Iannone, 'Lineage of Love', 2016. Photo: Tom Callemin
Dorothy Iannone, 'Lineage of Love', 2016. Photo: Tom Callemin
Dorothy Iannone, 'Lineage of Love', 2016. Photo: Tom Callemin
Dorothy Iannone, 'Lineage of Love', 2016. Photo: Tom Callemin
Dorothy Iannone, 'Lineage of Love', 2016. Photo: Tom Callemin
Dorothy Iannone, 'Lineage of Love', 2016. Photo: Tom Callemin
Dorothy Iannone, 'Lineage of Love', 2016. Photo: Tom Callemin
Dorothy Iannone, 'Lineage of Love', 2016. Photo: Tom Callemin
Dorothy Iannone, 'Lineage of Love', 2016. Photo: Tom Callemin
Dorothy Iannone, 'Lineage of Love', 2016. Photo: Tom Callemin
Dorothy Iannone, 'Lineage of Love', 2016. Photo: Tom Callemin
Dorothy Iannone, 'Lineage of Love', 2016. Photo: Tom Callemin
Dorothy Iannone, 'Lineage of Love', 2016. Photo: Tom Callemin
Dorothy Iannone, 'Lineage of Love', 2016. Photo: Tom Callemin
Dorothy Iannone, 'Lineage of Love', 2016. Photo: Tom Callemin
Dorothy Iannone, 'Lineage of Love', 2016. Photo: Tom Callemin
Dorothy Iannone, 'Lineage of Love', 2016. Photo: Tom Callemin
Dorothy Iannone, 'Lineage of Love', 2016. Photo: Tom Callemin
Dorothy Iannone, 'Lineage of Love', 2016. Photo: Tom Callemin
Dorothy Iannone, 'Lineage of Love', 2016. Photo: Tom Callemin
Dorothy Iannone, 'Lineage of Love', 2016. Photo: Tom Callemin
Dorothy Iannone, 'Lineage of Love', 2016. Photo: Tom Callemin
Dorothy Iannone, 'Lineage of Love', 2016. Photo: Tom Callemin
Dorothy Iannone, 'Lineage of Love', 2016. Photo: Tom Callemin
Dorothy Iannone, 'Lineage of Love', 2016. Photo: Tom Callemin
Dorothy Iannone, 'Lineage of Love', 2016. Photo: Tom Callemin
Dorothy Iannone, 'Lineage of Love', 2016. Photo: Tom Callemin
Dorothy Iannone, 'Lineage of Love', 2016. Photo: Tom Callemin
Dorothy Iannone, 'Lineage of Love', 2016. Photo: Tom Callemin
Dorothy Iannone, 'Lineage of Love', 2016. Photo: Tom Callemin

Lineage of Love

KIOSK presents Lineage of Love, the first Belgian solo exhibition by Dorothy Iannone (°1933, Boston, USA). A self-taught artist focusing on issues of emancipation, sexuality, politics and spiritual awakening, Iannone has been developing a singular body of work for over half a century. From 1967 she lived with Swiss-German artist Dieter Roth for a number of years, starting a thorough intertwining of her personal (and amorous) life with her artistic work. This emphatic autobiographical and narrative aspect of her work is expressed in paintings, drawings, graphic novels, sculptures, artist’s books, text-based works, collages and photographic works.

The great diversity of all of these media is showcased in Lineage of Love, where earlier works are presented alongside Iannone’s more recent practice. A number of key works, such as the sculpture I Was Thinking of You and the two series of drawings An Icelandic Saga and The Story of Bern, are combined with less familiar works ranging from an early abstract painting, over a series of collages with Japanese paper and gold leaf, to a self-portrait in the shape of a polaroid, and a cooking diary from 1969. With this approach, the exhibition aims to paint the portrait of a versatile artist who has continually been on the move, looking for a symbiosis between art and her personal narratives, encounters, and passions.

In the 1960s, Iannone produced abstract expressionist works, yet from the 1970s onwards, she has developed in a more figurative direction with herself, her partner, and what she calls ‘ecstatic unity’ as central subjects. Iannone’s body, depicted as an ornately bejewelled divine Matriarch, becomes entangled with that of her Muse, Dieter Roth. Black lines and colour fields define overwhelming mosaics and two-dimensional tableaus of copulating couples whose male and female parts become interchangeable in the higher union of spiritual oneness. Confident women break free of all restraint and figure in a tale of love, sex, treason and power. The sexual act is emphasized and celebrated, much as it was in Antiquity. The artist’s many travels in Asia and Europe also left traces in her techniques and motifs. The perspectiveless compositions are reminiscent of Japanese woodblock prints, Greek vases or Middle-Eastern erotic paintings; her colourful mosaics and mandala-shapes recall Buddhist, Byzantine or 17th-century Baroque traditions.

Iannone’s work has often been subjected to censorship and has long been neglected. With the turn of the millennium, however, this has gradually changed and she has since exhibited solo shows in such venues as Air de Paris, Paris (2015); Peres Projects, Berlin (2014); Migros Museum für Gegenwartskunst, Zürich (2014); Berlinische Galerie, Berlin (2014); New Museum, New York (2009) and Kunsthalle Wien, Vienna (2006).

20.11.16—11:00

Jérémie Gindre

Finissage & artist talk
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Jérémie Gindre

On this last day of the exhibition Jérémie Gindre invites us for a walk through the temporary campsite he has installed at KIOSK for the past two months. The panoramic autumnal landscape is further expanded through a lecture in which the artist reads from his own literary works and from a number of novels that inspired him in creating 'Kamp Kataloog'.
 
Walk&talk in English
Reading in French

Finissage & artist talk
24.09.16 - 20.11.16

Jérémie Gindre

Exhibition
Jérémie Gindre, 'Kamp Kataloog', 2016. Photo: Rachel Gruijters
Jérémie Gindre, 'Kamp Kataloog', 2016. Photo: Rachel Gruijters
Jérémie Gindre, 'Kamp Kataloog', 2016. Photo: Rachel Gruijters
Jérémie Gindre, 'Kamp Kataloog', 2016. Photo: Rachel Gruijters
Jérémie Gindre, 'Kamp Kataloog', 2016. Photo: Tom Callemin
Jérémie Gindre, 'Kamp Kataloog', 2016. Photo: Tom Callemin
Jérémie Gindre, 'Kamp Kataloog', 2016. Photo: Tom Callemin
Jérémie Gindre, 'Kamp Kataloog', 2016. Photo: Tom Callemin
Jérémie Gindre, 'Kamp Kataloog', 2016. Photo: Tom Callemin
Jérémie Gindre, 'Kamp Kataloog', 2016. Photo: Tom Callemin
Jérémie Gindre, 'Kamp Kataloog', 2016. Photo: Rachel Gruijters
Jérémie Gindre, 'Kamp Kataloog', 2016. Photo: Rachel Gruijters
Jérémie Gindre, 'Kamp Kataloog', 2016. Photo: Rachel Gruijters
Jérémie Gindre, 'Kamp Kataloog', 2016. Photo: Rachel Gruijters
Jérémie Gindre, 'Kamp Kataloog', 2016. Photo: Rachel Gruijters
Jérémie Gindre, 'Kamp Kataloog', 2016. Photo: Rachel Gruijters
Jérémie Gindre, 'Kamp Kataloog', 2016. Photo: Tom Callemin
Jérémie Gindre, 'Kamp Kataloog', 2016. Photo: Tom Callemin
Jérémie Gindre, 'Kamp Kataloog', 2016. Photo: Tom Callemin
Jérémie Gindre, 'Kamp Kataloog', 2016. Photo: Tom Callemin
Jérémie Gindre, 'Kamp Kataloog', 2016. Photo: Tom Callemin
Jérémie Gindre, 'Kamp Kataloog', 2016. Photo: Tom Callemin
Jérémie Gindre, 'Kamp Kataloog', 2016. Photo: Tom Callemin
Jérémie Gindre, 'Kamp Kataloog', 2016. Photo: Tom Callemin
Jérémie Gindre, 'Kamp Kataloog', 2016. Photo: Tom Callemin
Jérémie Gindre, 'Kamp Kataloog', 2016. Photo: Tom Callemin
Jérémie Gindre, 'Kamp Kataloog', 2016. Photo: Tom Callemin
Jérémie Gindre, 'Kamp Kataloog', 2016. Photo: Tom Callemin
Jérémie Gindre, 'Kamp Kataloog', 2016. Photo: Tom Callemin
Jérémie Gindre, 'Kamp Kataloog', 2016. Photo: Tom Callemin
Jérémie Gindre, 'Kamp Kataloog', 2016. Photo: Tom Callemin
Jérémie Gindre, 'Kamp Kataloog', 2016. Photo: Tom Callemin
Jérémie Gindre, 'Kamp Kataloog', 2016. Photo: Tom Callemin
Jérémie Gindre, 'Kamp Kataloog', 2016. Photo: Tom Callemin

Kamp Kataloog

With ‘Kamp Kataloog’, KIOSK presents the first Belgian solo exhibition of Swiss artist and author Jérémie Gindre. The exhibition takes in changing settings and was conceived in a series of three episodes: the first of these took place in the summer of 2015 at the Centre d’art contemporain La Criée in Rennes, the second ‘campsite’ was erected in the spring of 2016 at La Kunsthalle in Mulhouse, and this fall, the series concludes with episode three at KIOSK. Like a panoramic landscape, these temporary ‘camps’ evolve with the seasons to develop numerous new stories along the way. Depending on the exhibition space and the season, the shows bring together a different combination of sculptures, drawings, and texts. In line with that concept, Gindre has rendered the title of the exhibition and book project, ‘Camp Catalogue’, in a Dutch-language version.

The show starts from our contact with nature and the way in which we attempt to shape, comprehend, and limit it. Gindre presents us with a poetic yet systematic study of the formal language of camping sites and their surroundings — fences, rivers, birds and beehives, but also that which takes place in the ground below. This results in a catalogue of landscape types that is not exhaustive or scientific in nature, but is primarily aimed at stirring the reader’s memory and imagination.

Coinciding with the exhibition is the publication of Jérémie Gindre’s artist’s book ‘Camp Catalogue’. The book includes the drawings and texts from the exhibitions, and is published by Lendroit éditions in cooperation with La Criée, Rennes, La Kunsthalle, Mulhouse and KIOSK, Ghent.

Jérémie Gindre is the author of about twelve books, including novels, short stories, essays, diaries, visual books, and more. These books deal with history, geography, conceptual art, neuro science, archaeology, and tourism, and the author playfully blends all of these disciplines. Gindre’s work has been exhibited at Kunsthaus Baselland, Muttenz (Switzerland); Kunstmuseum Thun (Switzerland); Museo de Arte Moderno, Buenos Aires (Argentina); Kunsthalle Fri-Art, Fribourg (Switzerland); La Criée centre d’art contemporain, Rennes (France) and La Kunsthalle, Mulhouse (France).

Camp Catalog

Author: Jérémie Gindre

12€ (collector's edition: 16€)

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Jérémie Gindre

Camp Catalog

Author: Jérémie Gindre
Editor: La Criée / La Kunsthalle Mulhouse / KIOSK
Year: 2016

Pages: 184 pages
Size: 19 x 25,3 cm
Price: 12€ (collector's edition: 16€)
Shipping cost: Belgium 2€ / Europe 5€ / Rest of the world 6€

Camp Catalog, La Criée / La Kunsthalle Mulhouse / KIOSK, 2016, 19 x 25,3 cm, 184 pages, 12€ (collector's edition: 16€), Belgium 2€ / Europe 5€ / Rest of the world 6€

Camp Catalog

Coinciding with the exhibition is the publication of Jérémie Gindre’s artist’s book 'Camp Catalog'. The book includes the drawings and texts from the exhibitions, and is published by Lendroit éditions in cooperation with La Criée, Rennes, La Kunsthalle, Mulhouse and KIOSK.

Edition: 1000 ex., of which 300 collector's editions

Publication
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Ulla von Brandenburg

Sorceress blue/orange

2016

two-colour woodcut on paper, 50 x 60 cm (image) / 64,5 x 80 cm (paper)

800 EUR / 700 EUR for members (excl. shipping costs)

Contact us to order

Sorceress blue/orange, 2016, two-colour woodcut on paper, 50 x 60 cm (image) / 64,5 x 80 cm (paper), 800 EUR / 700 EUR for members (excl. shipping costs)

Sorceress blue/orange

Two-colour woodcut on paper

Signed and numbered on verso
Edition of 15 + 5 AP

The work refers to recurrent themes in Ulla von Brandenburg’s practice, such as the occult, magic, theatre and the trompe-l’oeil. Featured here is the sphere or crystal ball which in the world of sleight-of-hand and magic, is used to conjure an atmosphere of enigma and illusion. Von Brandenburg’s figure draped in striking colour blocks seems to be an abstracted contemporary and female variation on the illusionist with his floating ball as he was depicted in prints from as early as the 17th century.
 
Ulla von Brandenburg (1974, Karlsruhe, Germany) currently lives and works in Paris. In the spring of 2013 she presented her show 'Gleich Gleich Gleich' at KIOSK. Other recent solo exhibitions were staged at such venues as The Power Plant (Toronto), ACCA (Melbourne), Haus Konstruktiv (Zürich), Mamco, (Geneva) and Secession (Vienna). Her works have been included in shows at the Centre Pompidou (Paris), WIELS (Brussels), Witte de With (Rotterdam) and in the Sydney, Lyon and Venice biennales.

Zachary Formwalt

Three Exchanges

Author: Eric de Bruyn, Joshua Simon and Zachary Formwalt
Editor: Stedelijk Museum Amsterdam / MoCAB, Belgrado / KIOSK
Year: 2015

Pages: 300
Size: 17 x 23 cm
Price: 30€
Shipping cost: Shipping cost: Belgium 2€ / Europe 5€ / Rest of the world 6€

Three Exchanges, Stedelijk Museum Amsterdam / MoCAB, Belgrado / KIOSK, 2015, 17 x 23 cm, 300, 30€, Shipping cost: Belgium 2€ / Europe 5€ / Rest of the world 6€

Three Exchanges

In three recent video installations - and in the three chapters of this book -, Zachary Formwalt focuses on the architecture of OMA's new Shenzhen Stock Exchange and the Amsterdam stock and commodities exchange by H.P. Berlage. Although our economy is dictated by financial transactions, the activity of trading itself has become increasingly remote, without actual human encounter. The architecture of the two buildings serves as a starting point for a investigation into the limitations of photography to represent global capital and into the interrelationships between financial capitalism and image-making.

The book was made on the occasion of Formwalt’s 2014 and 2015 solo shows at KIOSK, Stedelijk Museum Bureau Amsterdam (SMBA) and Museum of Contemporary Art (MoCAB) Belgrado, respectively. Both exhibitions revolved around the same theme and works: our contemporary global economy, as analyzed by Formwalt in three video installations in which he uses the stock exchange building as a metaphor for the impossibility of visualizing the continuously circulating flows of capital in the contemporary financial world.

Design by Roger Willems.

Publication
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Katinka Bock

Five Speakers (radio canon)

2016

ceramics, various dimensions: approx. 24 x 24 x 24 cm

850 EUR / 750 EUR for members

Contact us to order

Five Speakers (radio canon), 2016, ceramics, various dimensions: approx. 24 x 24 x 24 cm, 850 EUR / 750 EUR for members

Five Speakers (radio canon)

The edition consists of five unique sculptures that form one sculpture shared by five people.

Ceramics

SOLD OUT

Nel Aerts

Hundred Zundert

Author: Grete Simkuté
Editor: Posture Editions
Year: 2016

Pages: 160
Size: 21 × 30 cm
Price: 25€
Shipping cost: Belgium 2€ / Europe 5€ / Rest of the world 6€

Hundred Zundert, Posture Editions, 2016, 21 × 30 cm, 160, 25€, Belgium 2€ / Europe 5€ / Rest of the world 6€

Hundred Zundert

Nel Aerts spent a three-month residency at the Vincent Van GoghHuis in Zundert, the village where Van Gogh grew up. Instead of trying to toe the artist’s footsteps, she positioned herself in the iconic interior of the sexton’s house, creating a frame for an extended series of self portraits. Posture Editions selected one hundred of these ballpoint pen drawings and rendered them full-sized in the publication Hundred Zundert.

Nel Aerts presented a first set of these drawings during her exhibition ‘Billenkoek’ at KIOSK.

The book was published by Posture Editions, with the support of Lord Nelson, KIOSK & Vincent van GoghHuis Zundert. The book launch took place at KIOSK, Sunday, April 17th, 2016.

Publication
click to open click to close
04.05.16—19:00

Screening room Peter Wächtler

Film screening
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Peter Wächtler, 'Untitled (rat)', video still
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Peter Wächtler, 'Untitled (hobo)', video still
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Peter Wächtler, 'Untitled', video still

Screening room Peter Wächtler

Coinciding with the exhibition, a selection of Peter Wächtler’s animation films will be screened in KIOSK’s side room on April 28, May 4 and May 26, at 7pm, 8pm and 9pm:
‘Untitled (rat)’ (2013, 14’00”)
‘Untitled’ (2012, 8’26”)
‘Untitled (hobo)’ (2013, 11’26”)

KIOSK will be open until 10 PM during the evening openings. There will also be a guided tour of Peter Wächtler's exhibition '9' at 7:30 PM.

Film screening
23.04.16 - 12.06.16

Peter Wächtler

Opening: Friday 22 April 2016 - 20:00

Exhibition
(c) Peter Wächtler
(c) Peter Wächtler
Peter Wächtler, still from 'Untitled', video, 2014
Peter Wächtler, still from 'Untitled', video, 2014
Peter Wächtler, '9', 2016. Photo: Tom Callemin
Peter Wächtler, '9', 2016. Photo: Tom Callemin
Peter Wächtler, '9', 2016. Photo: Tom Callemin
Peter Wächtler, '9', 2016. Photo: Tom Callemin
Peter Wächtler, '9', 2016. Photo: Tom Callemin
Peter Wächtler, '9', 2016. Photo: Tom Callemin
Peter Wächtler, still from 'Untitled', video, 2014
Peter Wächtler, still from 'Untitled', video, 2014
Peter Wächtler, '9', 2016. Photo: Tom Callemin
Peter Wächtler, '9', 2016. Photo: Tom Callemin
Peter Wächtler, '9', 2016. Photo: Tom Callemin
Peter Wächtler, '9', 2016. Photo: Tom Callemin
Peter Wächtler, '9', 2016. Photo: Tom Callemin
Peter Wächtler, '9', 2016. Photo: Tom Callemin
Peter Wächtler, '9', 2016. Photo: Tom Callemin
Peter Wächtler, '9', 2016. Photo: Tom Callemin

9

Peter Wächtler (1979, Hannover) illustrates, writes, makes sculptures and creates sound, animation and video art. Wächtler sets narrative techniques into play: his texts set the tone and function as a framework for his diverse body of work. The complex, fantastical storylines create an atmosphere filled with humor, satire and alienation, and his scenarios take the shape of book illustrations, simple animations, prose, voiceovers or storyboards. Wächtler plays with the language and imagery of pop culture, such as that typically encountered in bestsellers, page-turners, tearjerkers and blockbusters. He adapts these genres’ formal characteristics, while simultaneously undermining them in their initial educational, entertaining or empathic functions.

Wächtler’s stories are first-person narratives, but he never divulges whether and in what measure his characters are based on pure fiction, actual memories or everyday anecdotes. To a certain extent we can identify ourselves with the figures he so poetically gives life to. At the same time, however, their eccentricity, excessive liveliness and deadpan humor keep us at a safe distance. Their communication is limited and they feel vulnerable or undervalued. They behave obstructively, passively or outlandish.

Following the strategy of negation, Wächtler’s exhibition at KIOSK is entitled 9. For this installation he went in search of a unique way to occupy the exhibition space, a way that is not in the least concerned with adhering to current museological and architectural codes.

Peter Wächtler lives and works in Brussels and Berlin. He has exhibited solo at, among others, The Renaissance Society, Chicago (2016); Westfälischer Kunstverein, Münster (2014); Reena Spaulings, New York (2014); dépendance gallery, Brussels (2013); Kunstverein Hildesheim (2013); Ludlow 38, New York (2013); Kunsthalle Wien, Vienna (2013). Wächtler took part in recent group exhibitions such as: 2015 Triennial: Surround Audience, New Museum, New York (2015); the Liverpool Biennial (2014); Meanwhile…Suddenly and Then, Lyon Biennale (2013); Pride Goes Before a Fall – Beware of a Holy Whore, Artists Space, New York (2013); Un-Scene II, Wiels, Brussels (2012); Melanchotopia, Witte de With, Center for Contemporary Art, Rotterdam (2011). Sternberg Press published a collection of Wächtler’s texts in 2013, entitled Come On.

17.04.16—17:00

Posture Editions N° 19: Nel Aerts ‘Hundred Zundert’

Book presentation
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Invitation Posture Editions N° 19
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Edition of 15: silkscreen, manually coloured, signed and numbered
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Posture Editions N° 19 with Nel Aerts - "Hundred Zundert". (c) Rachel Gruijters
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Posture Editions N° 19 with Nel Aerts - "Hundred Zundert". (c) Rachel Gruijters
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Book launch Posture Editions N° 19 @ KIOSK, 17 april 2016. (c) Rachel Gruijters
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Book launch Posture Editions N° 19 @ KIOSK, 17 april 2016. (c) Rachel Gruijters
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Book launch Posture Editions N° 19 @ KIOSK, 17 april 2016. (c) Rachel Gruijters
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Book launch Posture Editions N° 19 @ KIOSK, 17 april 2016. (c) Rachel Gruijters
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Book launch Posture Editions N° 19 @ KIOSK, 17 april 2016. (c) Rachel Gruijters
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Book launch Posture Editions N° 19 @ KIOSK, 17 april 2016. (c) Rachel Gruijters
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Book launch Posture Editions N° 19 @ KIOSK, 17 april 2016. (c) Rachel Gruijters

Posture Editions N° 19: Nel Aerts ‘Hundred Zundert’

Nel Aerts spent a three-month residency at the Vincent Van GoghHuis in Zundert, the village where Van Gogh grew up. Instead of trying to toe the artist’s footsteps, she positioned herself in the iconic interior of the sexton’s house, creating a frame for an extended series of self portraits.
Posture Editions selected one hundred of these ballpoint pen drawings and rendered them full-sized in the publication Hundred Zundert. Nel Aerts already presented a first set of these drawings during her recent exhibition Billenkoek at KIOSK, and for this occasion she will return with a single-day show and a silkscreen poster edition.

Exhibition open from 10am until 7pm.
Book launch at 5pm, with introductions by Ron Dirven and Wim Waelput.

BOOK Hundred Zundert: 160p — €25
EDITION of 15: silkscreen, manually coloured, signed and numbered.
With the support of Vincent Van GoghHuis Zundert, KIOSK, and Lord Nelson.

Book presentation
13.02.16 - 10.04.16

Daniel Dewar & Grégory Gicquel

Exhibition
Daniel Dewar & Grégory Gicquel, 'Digitalis', 2016. Photo: Tom Callemin
Daniel Dewar & Grégory Gicquel, 'Digitalis', 2016. Photo: Tom Callemin
Daniel Dewar & Grégory Gicquel, 'Digitalis', 2016. Photo: Tom Callemin
Daniel Dewar & Grégory Gicquel, 'Digitalis', 2016. Photo: Tom Callemin
Daniel Dewar & Grégory Gicquel, 'Digitalis', 2016. Photo: Tom Callemin
Daniel Dewar & Grégory Gicquel, 'Digitalis', 2016. Photo: Tom Callemin
Daniel Dewar & Grégory Gicquel, 'Digitalis', 2016. Photo: Tom Callemin
Daniel Dewar & Grégory Gicquel, 'Digitalis', 2016. Photo: Tom Callemin
Daniel Dewar & Grégory Gicquel, 'Digitalis', 2016. Photo: Tom Callemin
Daniel Dewar & Grégory Gicquel, 'Digitalis', 2016. Photo: Tom Callemin
Daniel Dewar & Grégory Gicquel, 'Digitalis', 2016. Photo: Tom Callemin
Daniel Dewar & Grégory Gicquel, 'Digitalis', 2016. Photo: Tom Callemin
Daniel Dewar & Grégory Gicquel, 'Digitalis', 2016. Photo: Tom Callemin
Daniel Dewar & Grégory Gicquel, 'Digitalis', 2016. Photo: Tom Callemin
Daniel Dewar & Grégory Gicquel, 'Digitalis', 2016. Photo: Tom Callemin
Daniel Dewar & Grégory Gicquel, 'Digitalis', 2016. Photo: Tom Callemin
Daniel Dewar & Grégory Gicquel, 'Digitalis', 2016. Photo: Tom Callemin
Daniel Dewar & Grégory Gicquel, 'Digitalis', 2016. Photo: Tom Callemin
Daniel Dewar & Grégory Gicquel, 'Digitalis', 2016. Photo: Tom Callemin
Daniel Dewar & Grégory Gicquel, 'Digitalis', 2016. Photo: Tom Callemin
Daniel Dewar & Grégory Gicquel, 'Digitalis', 2016. Photo: Tom Callemin
Daniel Dewar & Grégory Gicquel, 'Digitalis', 2016. Photo: Tom Callemin
Daniel Dewar & Grégory Gicquel, 'Digitalis', 2016. Photo: Tom Callemin
Daniel Dewar & Grégory Gicquel, 'Digitalis', 2016. Photo: Tom Callemin
Daniel Dewar & Grégory Gicquel, 'Digitalis', 2016. Photo: Tom Callemin
Daniel Dewar & Grégory Gicquel, 'Digitalis', 2016. Photo: Tom Callemin
Daniel Dewar & Grégory Gicquel, 'Digitalis', 2016. Photo: Tom Callemin
Daniel Dewar & Grégory Gicquel, 'Digitalis', 2016. Photo: Tom Callemin
Daniel Dewar & Grégory Gicquel, 'Digitalis', 2016. Photo: Tom Callemin
Daniel Dewar & Grégory Gicquel, 'Digitalis', 2016. Photo: Tom Callemin
Daniel Dewar & Grégory Gicquel, 'Digitalis', 2016. Photo: Tom Callemin
Daniel Dewar & Grégory Gicquel, 'Digitalis', 2016. Photo: Tom Callemin
Daniel Dewar & Grégory Gicquel, 'Digitalis', 2016. Photo: Tom Callemin
Daniel Dewar & Grégory Gicquel, 'Digitalis', 2016. Photo: Tom Callemin
Daniel Dewar & Grégory Gicquel, 'Digitalis', 2016. Photo: Tom Callemin
Daniel Dewar & Grégory Gicquel, 'Digitalis', 2016. Photo: Tom Callemin
Daniel Dewar & Grégory Gicquel, 'Digitalis', 2016. Photo: Tom Callemin
Daniel Dewar & Grégory Gicquel, 'Digitalis', 2016. Photo: Tom Callemin
Daniel Dewar & Grégory Gicquel, 'Digitalis', 2016. Photo: Tom Callemin
Daniel Dewar & Grégory Gicquel, 'Digitalis', 2016. Photo: Tom Callemin

Digitalis

At KIOSK, British-French artist duo Daniel Dewar and Grégory Gicquel bring together several new series of sculptures under the title Digitalis.

In their sculptural practice, the artists use a wide array of techniques, including woodcarving, weaving, ceramics and stone dressing. They employ this autodidactic knowledge of traditional methods of production in the creation of unique, handcrafted objects. This means that a sculpture on display is often the result of a long and labour-intensive process in which the material is carefully selected, researched and manipulated.

This is also the case for the sculptures that are created for Digitalis. The exhibition’s title uses the botanical name for foxgloves; ‘digitalis’ meaning ‘of the finger’, a reference to the flower’s shape. Both the title and the works on display are concerned with the concept of the touch, or stroke; in the shape of a unique fingerprint or as a digital, serial gesture. The purple Digitalis flower, for instance, reappears as a floral motif in the details of a new series of benches hand-made by the artists from cypress wood. The cushions for the seats are adorned with digital embroidery.

Dewar and Gicquel’s choice for obsolete manual techniques should not, however, be interpreted as a nostalgic reflex concerning forgotten traditions, or as a critical stand on standardization and uniformity in an industrialized world. Techniques and media are not a work’s final goals. On the contrary, most often they function as starting points for an investigation of the narrative potential, as references for the subject to freely revolve around.

The diminished relevance or anachronistic nature of, in this case, embroidery and the use of a chisel and mechanic wood cutter is seen by the artists themselves as sculptural surplus value. A block of wood starts with the potential to take on any narrative and sculptural form, but it is simultaneously inherent in the creative process that this starting material will only lead to a single sculptural ‘appearance’. Dewar and Gicquel take great pleasure in the journey towards this appearance, in manipulating techniques or setting a particular material in motion and, curiously yet patiently, watching the emergence of a sculptural image. Their take on traditional techniques does not require the rules to be followed strictly; no, new rules are invented along the way. This idea is strikingly embodied in the sofa-pieces: they do not function as perfectly finished practical objects, but as a series of unique sculptures with delicate nuances in material, colour, and size.

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Miet Warlop & Nel Aerts

On the last day of the exhibitions Crumbling Down the Circle of My Iconoclasm by Miet Warlop and Billenkoek by Nel Aerts, KIOSK organizes a finissage, in the presence of both artists. The guided tour starts at 3 pm and will be followed by a performance by Miet Warlop and a group of performers.

Finissage & performance

Miet Warlop

PERFECT

2015

plaster and chisel, 29,5 x 13 x 9 cm

220 EUR (excl. shipping costs)

Contact us to order

PERFECT, 2015, plaster and chisel, 29,5 x 13 x 9 cm, 220 EUR (excl. shipping costs)

PERFECT

SOLD OUT

Plaster and chisel, foam

Edition of 12 + 3 AP

Miet Warlop

PULS!

2015

plaster, 51 x 51 cm

350 EUR (excl. shipping costs)

Contact us to order

PULS!, 2015, plaster, 51 x 51 cm, 350 EUR (excl. shipping costs)

PULS!

LAST COPY

Plaster and foam in wooden crate

Edition of 6 + 2 AP

The edition exists in a unbroken and a crumbled variation.

Courtesy: Miet Warlop
Courtesy: Miet Warlop
Miet Warlop, 'Crumbling Down the Circle of My Iconoclasm', 2015. Photo Tom Callemin
Miet Warlop, 'Crumbling Down the Circle of My Iconoclasm', 2015. Photo Tom Callemin
Miet Warlop, 'Crumbling Down the Circle of My Iconoclasm', 2015. Photo Tom Callemin
Miet Warlop, 'Crumbling Down the Circle of My Iconoclasm', 2015. Photo Tom Callemin
Miet Warlop, 'Crumbling Down the Circle of My Iconoclasm', 2015. Photo Tom Callemin
Miet Warlop, 'Crumbling Down the Circle of My Iconoclasm', 2015. Photo Tom Callemin
Miet Warlop, 'Crumbling Down the Circle of My Iconoclasm', 2015. Photo Tom Callemin
Miet Warlop, 'Crumbling Down the Circle of My Iconoclasm', 2015. Photo Tom Callemin
Miet Warlop, 'Crumbling Down the Circle of My Iconoclasm', 2015. Photo Tom Callemin
Miet Warlop, 'Crumbling Down the Circle of My Iconoclasm', 2015. Photo Tom Callemin
Miet Warlop, 'Crumbling Down the Circle of My Iconoclasm', 2015. Photo Tom Callemin
Miet Warlop, 'Crumbling Down the Circle of My Iconoclasm', 2015. Photo Tom Callemin
Miet Warlop, 'Crumbling Down the Circle of My Iconoclasm', 2015. Photo Tom Callemin
Miet Warlop, 'Crumbling Down the Circle of My Iconoclasm', 2015. Photo Tom Callemin
Miet Warlop, 'Crumbling Down the Circle of My Iconoclasm', 2015. Photo Tom Callemin
Miet Warlop, 'Crumbling Down the Circle of My Iconoclasm', 2015. Photo Tom Callemin
Miet Warlop, 'Crumbling Down the Circle of My Iconoclasm', 2015. Photo Tom Callemin
Miet Warlop, 'Crumbling Down the Circle of My Iconoclasm', 2015. Photo Tom Callemin
Miet Warlop, 'Crumbling Down the Circle of My Iconoclasm', 2015. Photo Tom Callemin
Miet Warlop, 'Crumbling Down the Circle of My Iconoclasm', 2015. Photo Tom Callemin
Miet Warlop, 'Crumbling Down the Circle of My Iconoclasm', 2015. Photo Tom Callemin
Miet Warlop, 'Crumbling Down the Circle of My Iconoclasm', 2015. Photo Tom Callemin
Miet Warlop, 'Crumbling Down the Circle of My Iconoclasm', 2015. Photo Tom Callemin
Miet Warlop, 'Crumbling Down the Circle of My Iconoclasm', 2015. Photo Tom Callemin
Miet Warlop, 'Crumbling Down the Circle of My Iconoclasm', 2015. Photo Tom Callemin
Miet Warlop, 'Crumbling Down the Circle of My Iconoclasm', 2015. Photo Tom Callemin
Miet Warlop, 'Crumbling Down the Circle of My Iconoclasm', during the opening night November 27th, 2015. Photo Pauline Niks
Miet Warlop, 'Crumbling Down the Circle of My Iconoclasm', during the opening night November 27th, 2015. Photo Pauline Niks
Miet Warlop, 'Crumbling Down the Circle of My Iconoclasm', during the opening night November 27th, 2015. Photo Pauline Niks
Miet Warlop, 'Crumbling Down the Circle of My Iconoclasm', during the opening night November 27th, 2015. Photo Pauline Niks
Miet Warlop, 'Crumbling Down the Circle of My Iconoclasm', during the opening night November 27th, 2015. Photo Pauline Niks
Miet Warlop, 'Crumbling Down the Circle of My Iconoclasm', during the opening night November 27th, 2015. Photo Pauline Niks
Miet Warlop, 'Crumbling Down the Circle of My Iconoclasm', during the opening night November 27th, 2015. Photo Pauline Niks
Miet Warlop, 'Crumbling Down the Circle of My Iconoclasm', during the opening night November 27th, 2015. Photo Pauline Niks
Miet Warlop, 'Crumbling Down the Circle of My Iconoclasm', during the opening night November 27th, 2015. Photo Pauline Niks
Miet Warlop, 'Crumbling Down the Circle of My Iconoclasm', during the opening night November 27th, 2015. Photo Pauline Niks

Crumbling Down the Circle of My Iconoclasm

KIOSK presents two new exhibitions with works by Belgian artists Miet Warlop (1978) and Nel Aerts (1987). Both artists create universes that, in various guises and with different media, leave an immediate, poetic impression. Once immersed in them, the visitor will smile and grin at their ambiguous image worlds, before being left, moved and deserted.

Miet Warlop creates performances, actions and public interventions that stand midway between absurdist theatre and autonomous ‘tableaux vivants’. Warlop creates a visual language in between theatre, dance, and exhibition and freely plays these disciplines off against each other.

Titled Crumbling Down the Circle of My Iconoclasm, Warlop’s show at KIOSK presents an installation in which smaller spatial arrangements of objects, props, gestures and performers interact and set out an ever-changing choreography within an exhibition’s set chronology. Like a contemporary iconoclast, Warlop takes over the dome room to visualize her interpretation of the Greek notions of eikon (representation) and klastès (breaker): a process of simultaneous creation and destruction.

In Warlop’s visual universe, all elements are interconnected in an infinitely spinning loop of references that may take the form of a scratch on a record, a plaster cymbal, or a skirt-shaped object rolling in circles on the floor. The different objects are activated during brief interventions, unannounced temporary sculptural installations. The appearance of a new image inevitably coincides with the disappearance or crumbling of other images. Every action or movement adds a visual or auditory mark to the overall picture, resonating through and with the dome room.

28.11.15 - 31.01.16

Nel Aerts

Exhibition
Nel Aerts, 'Billenkoek', photo by Vic Aerts, 1990.
Nel Aerts, 'Billenkoek', photo by Vic Aerts, 1990.
Nel Aerts, 'Billenkoek', 2015. Photo Tom Callemin
Nel Aerts, 'Billenkoek', 2015. Photo Tom Callemin
Nel Aerts, 'Billenkoek', 2015. Photo Tom Callemin
Nel Aerts, 'Billenkoek', 2015. Photo Tom Callemin
Nel Aerts, 'Billenkoek', 2015. Photo Tom Callemin
Nel Aerts, 'Billenkoek', 2015. Photo Tom Callemin
Nel Aerts, 'Billenkoek', 2015. Photo Tom Callemin
Nel Aerts, 'Billenkoek', 2015. Photo Tom Callemin
Nel Aerts, 'Billenkoek', 2015. Photo Tom Callemin
Nel Aerts, 'Billenkoek', 2015. Photo Tom Callemin
Nel Aerts, 'Billenkoek', 2015. Photo Tom Callemin
Nel Aerts, 'Billenkoek', 2015. Photo Tom Callemin
Nel Aerts, 'Billenkoek', 2015. Photo Tom Callemin
Nel Aerts, 'Billenkoek', 2015. Photo Tom Callemin
Nel Aerts, 'Billenkoek', 2015. Photo Tom Callemin
Nel Aerts, 'Billenkoek', 2015. Photo Tom Callemin
Nel Aerts, 'Billenkoek', 2015. Photo Tom Callemin
Nel Aerts, 'Billenkoek', 2015. Photo Tom Callemin
Nel Aerts, 'Billenkoek', 2015. Photo Tom Callemin
Nel Aerts, 'Billenkoek', 2015. Photo Tom Callemin
Nel Aerts, 'Billenkoek', 2015. Photo Tom Callemin
Nel Aerts, 'Billenkoek', 2015. Photo Tom Callemin
Nel Aerts, 'Billenkoek', 2015. Photo Tom Callemin
Nel Aerts, 'Billenkoek', 2015. Photo Tom Callemin
Nel Aerts, 'Billenkoek', 2015. Photo Tom Callemin
Nel Aerts, 'Billenkoek', 2015. Photo Tom Callemin
Nel Aerts, 'Billenkoek', 2015. Photo Tom Callemin
Nel Aerts, 'Billenkoek', 2015. Photo Tom Callemin
Nel Aerts, 'Billenkoek', 2015. Photo Tom Callemin
Nel Aerts, 'Billenkoek', 2015. Photo Tom Callemin
Nel Aerts, 'Billenkoek', 2015. Photo Tom Callemin
Nel Aerts, 'Billenkoek', 2015. Photo Tom Callemin
Nel Aerts, 'Billenkoek', 2015. Photo Tom Callemin
Nel Aerts, 'Billenkoek', 2015. Photo Tom Callemin
Nel Aerts, 'Billenkoek', 2015. Photo Tom Callemin
Nel Aerts, 'Billenkoek', 2015. Photo Tom Callemin
Nel Aerts, 'Billenkoek', 2015. Photo Tom Callemin

Billenkoek

KIOSK presents two new exhibitions with works by Belgian artists Nel Aerts (1987) and Miet Warlop (1978). Both artists create universes that, in various guises and with different media, leave an immediate, poetic impression. Once immersed in them, the visitor will smile and grin at their ambiguous image worlds, before being left, moved and deserted.

Nel Aerts also freely and intuitively moves between different media such as painting, drawing, collage, performance, and sculpture. Over the last couple of years, a growing focus on the portrait can be discerned in her work, resulting on works on paper and wooden panels.

For the occasion of her show Billenkoek, Aerts has assembled a new, motley crowd of abstracted, posing subjects and characters that refer to popular culture, her immediate everyday surroundings and the artist herself. The (self) portraits are tragicomic in the contrasts they evoke. They can be sad or funny, extraverted or inward-looking, deliberately or playfully crawled out of the wood or arisen from the imagination as a drawing, but invariably they are introspective and unassuming.

A selection of older and new paintings, and a new series of about sixty drawings interact with the KIOSK spaces in a number of installation interventions. The impression one gets is that of a portrait gallery with walls, windows, and floor covered with autonomous pieces, making the drawn space and the exhibition space flow into each other.

Hundred Zundert

Author: Grete Simkuté

more

29.01.16—19:00

Dinner KIOSK @ Publiek

Fundraiser
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Miet Warlop, 'A View', 2013. © Miet Warlop.

Dinner KIOSK @ Publiek

We cordially invite you to attend a dinner in support of KIOSK on Friday, January 29th, 2016, from 7pm, at restaurant Publiek in Ghent.
Publiek, the starred restaurant by Flemish Foodie Olly Ceulenaere and Kelly Dehollander, welcomes us with a gastronomic five-course dinner with drinks pairing.
The evening will also see a lecture-performance by artist Nel Aerts, and a performance by artist Miet Warlop.
Reservations: €145 per person

For information and reservations:
By e-mail: kiosk@hogent.be or by calling Wim Waelput: +32 486 405 254.
Reservations per person or per table.
The definitive programme will be sent upon reservation.
Availability is limited.

This event coincides with the exhibitions by Miet Warlop and Nel Aerts at KIOSK. On Friday, January 29th, the gallery will exceptionally be open until 7pm.

KIOSK:
Louis Pasteurlaan 2, 9000 Ghent

Restaurant Publiek:
Ham 39, 9000 Ghent

Edith Dekyndt

Nanthanwan Temple (Master Duangkamol Jaikompan)

2015

canvas with Thai lacquerwork, 60 x 40 cm

Contact us for the price and/or to order

Nanthanwan Temple (Master Duangkamol Jaikompan), 2015, canvas with Thai lacquerwork, 60 x 40 cm,

Nanthanwan Temple (Master Duangkamol Jaikompan)

It is an unique work and is part of the series Nanthanwan Temple (Master Duangkamol Jaikompan).

Canvas with Thai lacquerwork, in collaboration with Master Duangkamol Jaikompan.

Signed at the back.

03.12.15—20:00

Christian Falsnaes

After Talk: lecture
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Christian Falsnaes, lecture, 03.12.2015.
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(c) Christian Falsnaes

Christian Falsnaes

Christian Falsnaes gives a lecture at the School of Arts - University College Ghent about his work and his recent exhibitions and performances, including his solo show at KIOSK as well as his projects at Kunstverein Braunschweig, Bielefeld Kunstverein Hamburger Bahnhof, Centre Pompidou, ...

This After Talk lecture has been organized within the framework of his exhibition Front (Kareth Schaffer) at KIOSK in spring 2015.

In collaboration with KASK lecture series.

After Talk: lecture
06.12.15—15:00

Zachary Formwalt

After Talk with book presentation & screening
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Silk screen test for the cover of 'Three Exchanges' (ROMA 257)
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Zachary Formwalt, 'An Unknown Quantity', film still

Zachary Formwalt

At 3 pm, KIOSK presents the book Zachary Formwalt – Three Exchanges, in the presence of artist Zachary Formwalt; the book launch is followed by a screening of the artist’s most recent video, An Unknown Quantity (2015, 35’) in the KASKcinema.

The book was made on the occasion of Formwalt’s 2014 and 2015 solo shows at KIOSK, Stedelijk Museum Bureau Amsterdam (SMBA) and Museum of Contemporary Art (MoCAB) Belgrado, respectively. Both exhibitions revolved around the same theme and works: our contemporary global economy, as analyzed by Formwalt in three video installations in which he uses the stock exchange building as a metaphor for the impossibility of visualizing the continuously circulating flows of capital in the contemporary financial world.

Now, we present the third instalment of the video trilogy, which was not yet shown at KIOSK. In An Unknown Quantity, Formwalt aims his camera on the Amsterdam Exchange, built in 1903 by socialist architect H.P. Berlage. How was Berlage, famous for his social housing projects for Amsterdam labourers, able to reconcile his idealism with this commission to design the palace of capitalism?

In collaboration with KASKcinema.

The book Zachary Formwalt – Three Exchanges was published by Roma Publications (ROMA 257), in collaboration with Stedelijk Museum Bureau Amsterdam (SMBA), Museum of Contemporary Art (MoCAB) Belgrado and KIOSK.

After Talk with book presentation & screening
19.09.15 - 15.11.15

Leonor Antunes

Exhibition
Courtesy: New Museum, New York. Photo: Maris Hutchinson/EPW
Courtesy: New Museum, New York. Photo: Maris Hutchinson/EPW
Leonor Antunes, 'I Stand Like A Mirror Before You', 2015. Photo Tom Callemin.
Leonor Antunes, 'I Stand Like A Mirror Before You', 2015. Photo Tom Callemin.
Leonor Antunes, 'I Stand Like A Mirror Before You', 2015. Photo Tom Callemin.
Leonor Antunes, 'I Stand Like A Mirror Before You', 2015. Photo Tom Callemin.
Leonor Antunes, 'I Stand Like A Mirror Before You', 2015. Photo Tom Callemin.
Leonor Antunes, 'I Stand Like A Mirror Before You', 2015. Photo Tom Callemin.
Leonor Antunes, 'I Stand Like A Mirror Before You', 2015. Photo Tom Callemin.
Leonor Antunes, 'I Stand Like A Mirror Before You', 2015. Photo Tom Callemin.
Leonor Antunes, 'I Stand Like A Mirror Before You', 2015. Photo Tom Callemin.
Leonor Antunes, 'I Stand Like A Mirror Before You', 2015. Photo Tom Callemin.
Leonor Antunes, 'I Stand Like A Mirror Before You', 2015. Photo Tom Callemin.
Leonor Antunes, 'I Stand Like A Mirror Before You', 2015. Photo Tom Callemin.
Leonor Antunes, 'I Stand Like A Mirror Before You', 2015. Photo Tom Callemin.
Leonor Antunes, 'I Stand Like A Mirror Before You', 2015. Photo Tom Callemin.
Leonor Antunes, 'I Stand Like A Mirror Before You', 2015. Photo Tom Callemin.
Leonor Antunes, 'I Stand Like A Mirror Before You', 2015. Photo Tom Callemin.
Leonor Antunes, 'I Stand Like A Mirror Before You', 2015. Photo Tom Callemin.
Leonor Antunes, 'I Stand Like A Mirror Before You', 2015. Photo Tom Callemin.
Leonor Antunes, 'I Stand Like A Mirror Before You', 2015. Photo Tom Callemin.
Leonor Antunes, 'I Stand Like A Mirror Before You', 2015. Photo Tom Callemin.
Leonor Antunes, 'I Stand Like A Mirror Before You', 2015. Photo Tom Callemin.
Leonor Antunes, 'I Stand Like A Mirror Before You', 2015. Photo Tom Callemin.
Leonor Antunes, 'I Stand Like A Mirror Before You', 2015. Photo Tom Callemin.
Leonor Antunes, 'I Stand Like A Mirror Before You', 2015. Photo Tom Callemin.
Leonor Antunes, 'I Stand Like A Mirror Before You', 2015. Photo Tom Callemin.
Leonor Antunes, 'I Stand Like A Mirror Before You', 2015. Photo Tom Callemin.
Leonor Antunes, 'I Stand Like A Mirror Before You', 2015. Photo Tom Callemin.
Leonor Antunes, 'I Stand Like A Mirror Before You', 2015. Photo Tom Callemin.
Leonor Antunes, 'I Stand Like A Mirror Before You', 2015. Photo Tom Callemin.
Leonor Antunes, 'I Stand Like A Mirror Before You', 2015. Photo Tom Callemin.
Leonor Antunes, 'I Stand Like A Mirror Before You', 2015. Photo Tom Callemin.
Leonor Antunes, 'I Stand Like A Mirror Before You', 2015. Photo Tom Callemin.
Leonor Antunes, 'I Stand Like A Mirror Before You', 2015. Photo Tom Callemin.
Leonor Antunes, 'I Stand Like A Mirror Before You', 2015. Photo Tom Callemin.
Leonor Antunes, 'I Stand Like A Mirror Before You', 2015. Photo Tom Callemin.
Leonor Antunes, 'I Stand Like A Mirror Before You', 2015. Photo Tom Callemin.
Leonor Antunes, 'I Stand Like A Mirror Before You', 2015. Photo Tom Callemin.
Leonor Antunes, 'I Stand Like A Mirror Before You', 2015. Photo Tom Callemin.

I Stand Like a Mirror Before You

I Stand Like a Mirror Before You is the first Belgian solo exhibition by Leonor Antunes. For the occasion, the artist, who was born in Portugal and currently resides in Berlin, has created an installation that takes in the entire KIOSK space and incorporates a number of new works.

Antunes’ site-specific sculptures echo both their immediate surroundings and the history of 20th-century architecture, art, and design. The artist’s interest in traditional craftsmanship is revealed in her use of natural materials such as wood, bamboo, leather, copper and rope.

At KIOSK, these materials are converted into freestanding, spatial demarcations, or knotted and folded according to traditional techniques into hanging net and grid structures. The works’ forms and techniques are informed by the visual languages of Swedish furniture designer Greta Grossman and American filmmaker and choreographer Maya Deren. Other sources of inspiration are the weavings of textile artists such as Anni Albers and Lenore Tawney. Antunes unravels the principles of construction underlying their rational designs and makes an abstraction of reality. In the course of this manual creative process, a reduced, personalized form emerges which she places in front of the viewer like a mirror.

Once the artist has fathomed and shaped a material’s physical and aesthetic qualities, its particular cultural history and that of its makers, she relates this material to the exhibition space. The space’s dimensions and proportions are brought into consideration to come to a composition that balances between a deliberately ordered pattern and a random tangle of textures, structures and surfaces, between hiding and revealing.

I Stand Like a Mirror Before You examines human interaction with spaces and surfaces. The seemingly carelessly sagging textiles attempt to assimilate to their surroundings. The works’ surfaces are mat, reflective or transparent, and mirror each other. Together, they sketch out a choreography of an infinite number of possible passages and vistas. In this web and/or grid-shaped installation, we are not presented with a single path to follow, not shown a clear reflection in the mirror.

The exhibition I Stand Like a Mirror Before You was realized in cooperation with the New Museum, New York, where a different version of it was on view earlier (24.06.2015 – 06.09.2015).

Leonor Antunes’ most recent solo exhibitions were presented at Pérez Art Museum Miami (2014), Kunsthalle Basel (2013), Musée d’Art Moderne de la Ville de Paris (2013), and Kunstverein Harburger Bahnhof, Hamburg (2012). Her work has also been included in a number of international group exhibitions, including the 12th Sharjah Biennial, UAE (2015), and the 8th Berlin Biennial (2014), and has recently been exhibited in venues such as the Bronx Museum of the Arts, New York (2014), Kunsthalle Wien, Vienna (2014), CNEAI, Chatou, France (2013), and MIT List Visual Arts Center, Cambridge (2012). Antunes will be the subject of solo exhibitions at CAPC musée d’art contemporain de Bordeaux (2015), Tensta konsthall, Stockholm (2016), San Francisco Museum of Modern Art (2016), and Museo Tamayo, Mexico City (2017).

Katja Mater

Fields on a Line

2015

set of 4 c-prints, 24 x 19 cm (each)

450 EUR / 350 EUR for members (excl. shipping costs)

Contact us to order

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Fields on a Line, 2015, set of 4 c-prints, 24 x 19 cm (each), 450 EUR / 350 EUR for members (excl. shipping costs)

Fields on a Line

The edition consists of four color photographs, delivered in an acid free cardboard box.

Signed and numbered
Edition of 20 + 3 AP

Katja Mater exhibited at KIOSK in late 2014-early 2015, under the title of Fields on a Line. The work was conceived in a step-by-step capturing of the painting of the exhibition room walls and floors in four different colours, and the subsequent re-painting in white. The result was a 16 mm film installation, with the repainted white exhibition space serving as residue. This eponymous edition reveals the process behind Fields on a Line in a new, photographic way: the four photo prints portray the four exhibition rooms in their temporary coloured state.

26.04.15 - 14.06.15

Christian Falsnaes

Exhibition
Christian Falsnaes, 'Front (Kareth Schaffer)', 2015. Photo Tom Callemin.
Christian Falsnaes, 'Front (Kareth Schaffer)', 2015. Photo Tom Callemin.
Christian Falsnaes, 'Front (Kareth Schaffer)', sculpture, 2015. Photo Tom Callemin.
Christian Falsnaes, 'Front (Kareth Schaffer)', sculpture, 2015. Photo Tom Callemin.
Christian Falsnaes, 'Front (Kareth Schaffer)', 2015. Photo Tom Callemin.
Christian Falsnaes, 'Front (Kareth Schaffer)', 2015. Photo Tom Callemin.
Christian Falsnaes, still from 'Front (Kareth Schaffer)', video/performance, 2015.
Christian Falsnaes, still from 'Front (Kareth Schaffer)', video/performance, 2015.
Christian Falsnaes, still from 'Front (Kareth Schaffer)', video/performance, 2015.
Christian Falsnaes, still from 'Front (Kareth Schaffer)', video/performance, 2015.
Christian Falsnaes, still from 'Front (Kareth Schaffer)', video/performance, 2015.
Christian Falsnaes, still from 'Front (Kareth Schaffer)', video/performance, 2015.
Christian Falsnaes, still from 'Front (Kareth Schaffer)', video/performance, 2015.
Christian Falsnaes, still from 'Front (Kareth Schaffer)', video/performance, 2015.
Christian Falsnaes, still from 'Front (Kareth Schaffer)', video/performance, 2015.
Christian Falsnaes, still from 'Front (Kareth Schaffer)', video/performance, 2015.
Christian Falsnaes, still from 'Front (Kareth Schaffer)', video/performance, 2015.
Christian Falsnaes, still from 'Front (Kareth Schaffer)', video/performance, 2015.
Christian Falsnaes, still from 'Front (Kareth Schaffer)', video/performance, 2015.
Christian Falsnaes, still from 'Front (Kareth Schaffer)', video/performance, 2015.
Christian Falsnaes, 'Front (Kareth Schaffer)', 2015. Photo Tom Callemin.
Christian Falsnaes, 'Front (Kareth Schaffer)', 2015. Photo Tom Callemin.
Christian Falsnaes, 'Front (Kareth Schaffer)', sculpture, 2015. Photo Tom Callemin.
Christian Falsnaes, 'Front (Kareth Schaffer)', sculpture, 2015. Photo Tom Callemin.
Christian Falsnaes, 'Front (Kareth Schaffer)', sculpture, 2015. Photo Tom Callemin.
Christian Falsnaes, 'Front (Kareth Schaffer)', sculpture, 2015. Photo Tom Callemin.
Christian Falsnaes, 'Time/Line/Movement
Christian Falsnaes, 'Time/Line/Movement", performance, 2015. Photo Tom Callemin.
Christian Falsnaes, 'The Title Is Your Name', performance, 2015. Photo Tom Callemin.
Christian Falsnaes, 'The Title Is Your Name', performance, 2015. Photo Tom Callemin.
Christian Falsnaes, 'The Title Is Your Name', performance, 2015. Photo Tom Callemin.
Christian Falsnaes, 'The Title Is Your Name', performance, 2015. Photo Tom Callemin.
Christian Falsnaes, 'The Title Is Your Name', performance, 2015. Photo Tom Callemin.
Christian Falsnaes, 'The Title Is Your Name', performance, 2015. Photo Tom Callemin.
Christian Falsnaes, 'The Title Is Your Name', performance, 2015.
Christian Falsnaes, 'The Title Is Your Name', performance, 2015.
Christian Falsnaes, 'The Title Is Your Name', performance, 2015.
Christian Falsnaes, 'The Title Is Your Name', performance, 2015.

Front (Kareth Schaffer)

With Front (Kareth Schaffer), KIOSK presents the first Belgian solo show by Danish artist Christian Falsnaes (1980, Copenhagen; currently based in Berlin).

Performance is at the heart of Falsnaes’ work: his actions are presented live or filmed, with or without an audience, and with man as study object and material. To Falsnaes, performance is the medium most closely approaching the Gesamtkunstwerk, as it can incorporate any other medium and is presented live. The artist employs a multitude of visual forms, including painting, video, music and dance, to develop theatrical, often absurd situations with the active participation of the audience. Recurrent themes are the relations between the individual and the group, and those between the artist and his audience.

Falsnaes engages in a thorough, physical exploration of a wide range of issues of social codes, group dynamics, power relations, authorship, gender roles and more. One of the forms this exploration has crystallized in, are the series of unannounced performances in which the artist directed the audience in several roles: from didactic artist to actor, from authoritarian leader to entertainer, clown, hooligan, and outcast. Increasingly, however, Falsnaes develops performative formats in which he himself is not physically present, making use of an interactive app, telephone connection, or stand-in. In other instances, he examines how the particular situation of a performance may facilitate the creation of a video piece. The video does not function as a documentation of the action then, but as an autonomous piece that is realized with the help of a script and camera team.

In line with these recent developments, Falsnaes’ exhibition at KIOSK, Front (Kareth Schaffer) will also materialize gradually: he will present three performance pieces in which existing actions are reinterpreted, thus creating new work on the spot. People will be asked to perform scripts written by the artist, focusing on issues of authorship, participation, and the artist’s identity. The interactive installation The Title Is Your Name will open up the performative potential of looking at art, and will generate a series of new, online video pieces.

On the occasion of his recent nomination for the Preis der Nationalgalerie, Christian Falsnaes will exhibit at the Hamburger Bahnhof, Berlin in Fall 2015. Until May 3rd of this year, his solo show Available can be seen at Kunstverein Braunschweig. Recently, he has also had solo exhibitions at Bielefelder Kunstverein, Bielefeld (2015); PSM, Berlin (2014); Art Basel Statements, Art 45 Basel (2014); KW Institute of Contemporary Art, Berlin (2013); and DREI, Cologne (2013).

The exhibition was organized in collaboration with Bielefelder Kunstverein.

14.02.15 - 12.04.15

Vibrant Matter

Exhibition
Photo Tom Callemin.
Photo Tom Callemin.
'Vibrant Matter', 2015. Photo Tom Callemin.
'Vibrant Matter', 2015. Photo Tom Callemin.
'Vibrant Matter', 2015. Photo Tom Callemin.
'Vibrant Matter', 2015. Photo Tom Callemin.
'Vibrant Matter', 2015. Photo Tom Callemin.
'Vibrant Matter', 2015. Photo Tom Callemin.
'Vibrant Matter', 2015. Photo Tom Callemin.
'Vibrant Matter', 2015. Photo Tom Callemin.
'Vibrant Matter', 2015. Photo Tom Callemin.
'Vibrant Matter', 2015. Photo Tom Callemin.
'Vibrant Matter', 2015. Photo Tom Callemin.
'Vibrant Matter', 2015. Photo Tom Callemin.
'Vibrant Matter', 2015. Photo Tom Callemin.
'Vibrant Matter', 2015. Photo Tom Callemin.
'Vibrant Matter', 2015. Photo Tom Callemin.
'Vibrant Matter', 2015. Photo Tom Callemin.
'Vibrant Matter', image from Katinka Bock, 'Speaker's Moscow', 2015. Photo Tom Callemin.
'Vibrant Matter', image from Katinka Bock, 'Speaker's Moscow', 2015. Photo Tom Callemin.
'Vibrant Matter', image from Analia Saban, 'Big Bang Series (in Ten Steps)', 2014. Photo Tom Callemin.
'Vibrant Matter', image from Analia Saban, 'Big Bang Series (in Ten Steps)', 2014. Photo Tom Callemin.
'Vibrant Matter', image from Analia Saban, 'Big Bang Series (in Ten Steps)', 2014. Photo Tom Callemin.
'Vibrant Matter', image from Analia Saban, 'Big Bang Series (in Ten Steps)', 2014. Photo Tom Callemin.
'Vibrant Matter', image from Eva Rothschild, 'Trophy' & 'Bad Moon', 2014. Photo Tom Callemin.
'Vibrant Matter', image from Eva Rothschild, 'Trophy' & 'Bad Moon', 2014. Photo Tom Callemin.
'Vibrant Matter', image from Eva Rothschild, 'Bad Moon', 2014 & Edith Dekyndt, 'Nanthanwan Temple 004', 2015. Photo Tom Callemin.
'Vibrant Matter', image from Eva Rothschild, 'Bad Moon', 2014 & Edith Dekyndt, 'Nanthanwan Temple 004', 2015. Photo Tom Callemin.
'Vibrant Matter', image from Edith Dekyndt, 'Nanthanwan Temple 005', 2015. Photo Tom Callemin.
'Vibrant Matter', image from Edith Dekyndt, 'Nanthanwan Temple 005', 2015. Photo Tom Callemin.
'Vibrant Matter', image from Benoit Platéus, 'Kodak Flexicolor', 2011-2014. Photo Tom Callemin.
'Vibrant Matter', image from Benoit Platéus, 'Kodak Flexicolor', 2011-2014. Photo Tom Callemin.
'Vibrant Matter', image from Edith Dekyndt, 'Domestic Dust Serie', 2002-2012. Photo Tom Callemin.
'Vibrant Matter', image from Edith Dekyndt, 'Domestic Dust Serie', 2002-2012. Photo Tom Callemin.
'Vibrant Matter', image from Matias Faldbakken, 'Untitled (Car Trunk #2)', 2013. Photo Tom Callemin.
'Vibrant Matter', image from Matias Faldbakken, 'Untitled (Car Trunk #2)', 2013. Photo Tom Callemin.
'Vibrant Matter', image from Thea Djordjadze, 'Untitled', 2012. Photo Tom Callemin.
'Vibrant Matter', image from Thea Djordjadze, 'Untitled', 2012. Photo Tom Callemin.
'Vibrant Matter', image from Valérie Mannaerts, 'Palms with no Shade', 2014. Photo Tom Callemin.
'Vibrant Matter', image from Valérie Mannaerts, 'Palms with no Shade', 2014. Photo Tom Callemin.
'Vibrant Matter', 2015. Photo Tom Callemin.
'Vibrant Matter', 2015. Photo Tom Callemin.
'Vibrant Matter', 2015. Photo Tom Callemin.
'Vibrant Matter', 2015. Photo Tom Callemin.
'Vibrant Matter', image from Camilla Løw, 'Spring Rain', 2013. Photo Tom Callemin.
'Vibrant Matter', image from Camilla Løw, 'Spring Rain', 2013. Photo Tom Callemin.
'Vibrant Matter', image from Kato Six, 'Surface secluded objects', 2015. Photo Tom Callemin.
'Vibrant Matter', image from Kato Six, 'Surface secluded objects', 2015. Photo Tom Callemin.
'Vibrant Matter', image from Kato Six, 'Surface secluded objects', 2015. Photo Tom Callemin.
'Vibrant Matter', image from Kato Six, 'Surface secluded objects', 2015. Photo Tom Callemin.
'Vibrant Matter', image from Karsten Födinger, 'Domestic Wildcard, 190 cm, 35 t, H. Albrecht Steinmetz', 2014. Photo Tom Callemin.
'Vibrant Matter', image from Karsten Födinger, 'Domestic Wildcard, 190 cm, 35 t, H. Albrecht Steinmetz', 2014. Photo Tom Callemin.
'Vibrant Matter', image from Eva Rothschild, 'Trophy', 2014. Photo Tom Callemin.
'Vibrant Matter', image from Eva Rothschild, 'Trophy', 2014. Photo Tom Callemin.

A group exhibition on the occasion of 5 years of KIOSK. PROLONGED UNTIL APRIL 12TH, 2015!

In celebration of the 5th anniversary of KIOSK, we present the group show Vibrant Matter. The great importance of the materiality of an object or work of art for the artist has been a recurrent topic throughout KIOSK’s trajectory. Vibrant Matter brings together different ‘material’ approaches, in a group show that features both artists who exhibited with us before, and new names.

The fascination for the concept of ‘materiality’ seems at odds with the prevailing economic tendency for hiding the physical processes of production from our view. Our contemporary Western post-industrial society is dominated by digital technology and keeps evolving towards an exclusively knowledge-based economy. The remaining production activities are moved to industrial areas set apart from residential neighbourhoods, or to faraway low-wage countries. This has undeniable effects on our relationship with matter: we alienate from what we eat, wear, or live in, as we do from the awareness of what is authentic and what is manipulated, what is real and what is virtual.

The artists in this show share a similar artistic awareness of the process of dematerialization: they counter standardized industrial production with a personalized language in which the main concern is the search for the essence of form and matter. In Vibrant Matter, the artists, in their very individual ways, all use a minimum of material to attain a multi-layered evocative power. The starting point can be a basic industrial typology, a traditional craft, or an improvisatory merging of personal and external influences. Regardless of whether the ensuing manipulation of the material happens in a manual or in an industrial process, whether the results are temporary, unique, or serial, in each instance the material is used for its own sake. This results in ‘poor’, often radically austere work.

Here indeed lies the essence of Vibrant Matter, an exhibition that seeks to stage a direct, vibrant confrontation through a series of sense-provoking paintings, sculptures, objects, and installations. Through their relation with the other objects, and with the architectural givens of the gallery space, the individual works must assert their own validity. And just like these individual works, the show as a whole hopes to establish a subjective understanding of the primary interconnectedness of matter and man.

Participating artists:
Katinka Bock, Edith Dekyndt, Thea Djordjadze, Matias Faldbakken, Karsten Födinger, Camilla Løw, Valérie Mannaerts, Benoit Platéus, Eva Rothschild, Analia Saban, Kato Six

01.02.15—15:00

Katinka Bock & Katja Mater

Artist talk & screening
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Katja Mater, 'Composition of Light', 16mm film, 2013
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Katja Mater, 'Searching for White', 16mm film, 2009
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Katja Mater, 'The Wheels - 38 Colour Wheels on Black and White Slides', 35mm slide show, 2010
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Exhibition walk-through with Katinka Bock, 01.02.2015.
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Exhibition walk-through with Katja Mater, 01.02.2015.
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Live screening 16mm film works and a slide show by Katja Mater, 01.02.2015.

Katinka Bock & Katja Mater

On the last day of the exhibitions Nebenwege by Katinka Bock and Fields on a Line by Katja Mater, KIOSK organizes an exhibition walk-through with both artists. The guided tour starts at 3 pm and will be followed by a live screening of 16mm film works and a slide show by Katja Mater:

-Searching for White, 16mm film, 2009
-The Wheels - 38 Colour Wheels on Black and White Slides, 35mm slide show, 2010
-Composition of Light, 16mm film, 2013
-Fields on a Line, 16mm film, 2014

Artist talk & screening
29.11.14 - 01.02.15

Katinka Bock

Exhibition
Katinka Bock, 'Nebenwege', 2014. Photo Tom Callemin.
Katinka Bock, 'Nebenwege', 2014. Photo Tom Callemin.
Katinka Bock, 'Nebenwege', 2014. Photo Tom Callemin.
Katinka Bock, 'Nebenwege', 2014. Photo Tom Callemin.
Katinka Bock, 'Nebenwege', 2014. Photo Tom Callemin.
Katinka Bock, 'Nebenwege', 2014. Photo Tom Callemin.
Katinka Bock, 'Nebenwege', 2014. Photo Tom Callemin.
Katinka Bock, 'Nebenwege', 2014. Photo Tom Callemin.
Katinka Bock, 'Nebenwege', 2014. Photo Tom Callemin.
Katinka Bock, 'Nebenwege', 2014. Photo Tom Callemin.
Katinka Bock, 'Nebenwege', 2014. Photo Tom Callemin.
Katinka Bock, 'Nebenwege', 2014. Photo Tom Callemin.
Katinka Bock, 'Nebenwege', 2014. Photo Tom Callemin.
Katinka Bock, 'Nebenwege', 2014. Photo Tom Callemin.
Katinka Bock, 'Nebenwege', 2014. Photo Tom Callemin.
Katinka Bock, 'Nebenwege', 2014. Photo Tom Callemin.
Katinka Bock, 'Nebenwege', 2014. Photo Tom Callemin.
Katinka Bock, 'Nebenwege', 2014. Photo Tom Callemin.
Katinka Bock, 'Nebenwege', 2014. Photo Tom Callemin.
Katinka Bock, 'Nebenwege', 2014. Photo Tom Callemin.
Katinka Bock, 'Nebenwege', 2014. Photo Tom Callemin.
Katinka Bock, 'Nebenwege', 2014. Photo Tom Callemin.
Katinka Bock, 'Nebenwege', 2014. Photo Tom Callemin.
Katinka Bock, 'Nebenwege', 2014. Photo Tom Callemin.
Katinka Bock, 'Nebenwege', 2014. Photo Tom Callemin.
Katinka Bock, 'Nebenwege', 2014. Photo Tom Callemin.
Katinka Bock, 'Nebenwege', 2014. Photo Tom Callemin.
Katinka Bock, 'Nebenwege', 2014. Photo Tom Callemin.
Katinka Bock, 'Nebenwege', 2014. Photo Tom Callemin.
Katinka Bock, 'Nebenwege', 2014. Photo Tom Callemin.
Katinka Bock, 'Nebenwege', 2014. Photo Tom Callemin.
Katinka Bock, 'Nebenwege', 2014. Photo Tom Callemin.

Nebenwege

KIOSK presents a duo exhibition with work by German artist Katinka Bock (1976) and Dutch artist Katja Mater (1979).

Both artists explore the boundaries of their medium in explorations of the possibilities and impossibilities inherent in their materials. The reflective process that characterizes their work starts with an observation of the exhibition context and a contemplation of the potential dialogue between the medium and the environment. Bock and Mater both work toward ‘outcomes’ that carry a transformative potential. Katinka Bock is mainly focused on the sculptural form, while Mater’s work primarily consists of analogue photographic or cinematographic registrations of intermediate interventions.

Katinka Bock’s sculptures and installations consist of natural materials such as clay, wood, sand, water and bronze, as well as everyday objects like chairs or lemons. These materials are selected for their colour, qualities, and primary energy. Their intrinsic characteristics are considered in relation to the historical and architectural foundations of the space and to the objects in their constellation, and are translated into sculptures that often display a radical austerity.
For her show Nebenwege at KIOSK, Bock combines existing objects with a new work in progress in which she uses changeable materials like water, salt, textile and a sheet of copper to create a fluid result that escapes complete control and only reveals itself fully at the very end of the exhibition.

29.11.14 - 01.02.15

Katja Mater

Exhibition
Katja Mater, 'A preparatory sketch for Fields on a Line'
Katja Mater, 'A preparatory sketch for Fields on a Line'
Katja Mater, 'Fields on a Line', 2014. Photo Tom Callemin.
Katja Mater, 'Fields on a Line', 2014. Photo Tom Callemin.
Katja Mater, 'Fields on a Line', 2014. Photo Tom Callemin.
Katja Mater, 'Fields on a Line', 2014. Photo Tom Callemin.
Katja Mater, 'Fields on a Line', 2014. Photo Tom Callemin.
Katja Mater, 'Fields on a Line', 2014. Photo Tom Callemin.
Katja Mater, 'Fields on a Line', 2014. Photo Tom Callemin.
Katja Mater, 'Fields on a Line', 2014. Photo Tom Callemin.
Katja Mater, 'Fields on a Line', 2014. Photo Tom Callemin.
Katja Mater, 'Fields on a Line', 2014. Photo Tom Callemin.
Katja Mater, 'Fields on a Line', 2014. Photo Tom Callemin.
Katja Mater, 'Fields on a Line', 2014. Photo Tom Callemin.
Katja Mater, 'Fields on a Line', 2014. Photo Tom Callemin.
Katja Mater, 'Fields on a Line', 2014. Photo Tom Callemin.
Katja Mater, film still 'Fields on a Line', 2014. Photo Tom Callemin.
Katja Mater, film still 'Fields on a Line', 2014. Photo Tom Callemin.
Katja Mater, film still 'Fields on a Line', 2014. Photo Tom Callemin.
Katja Mater, film still 'Fields on a Line', 2014. Photo Tom Callemin.
Katja Mater, film still 'Fields on a Line', 2014. Photo Tom Callemin.
Katja Mater, film still 'Fields on a Line', 2014. Photo Tom Callemin.
Katja Mater, film still 'Fields on a Line', 2014. Photo Tom Callemin.
Katja Mater, film still 'Fields on a Line', 2014. Photo Tom Callemin.
Katja Mater, film still 'Fields on a Line', 2014. Photo Tom Callemin.
Katja Mater, film still 'Fields on a Line', 2014. Photo Tom Callemin.

Fields on a Line

KIOSK presents a duo exhibition with work by Dutch artist Katja Mater (1979) and German artist Katinka Bock (1976).

Both artists explore the boundaries of their medium in explorations of the possibilities and impossibilities inherent in their materials. The reflective process that characterizes their work starts with an observation of the exhibition context and a contemplation of the potential dialogue between the medium and the environment. Mater and Bock both work toward ‘outcomes’ that carry a transformative potential. Katinka Bock is mainly focused on the sculptural form, while Mater’s work primarily consists of analogue photographic or cinematographic registrations of intermediate interventions.

Katja Mater creates abstract geometric compositions on paper, on objects, or directly onto a spatial context. The compositions are captured by means of a deliberate set of rules that provide a sense of direction in Mater’s boundless exploration of the tension between the two-dimensional and the three-dimensional.
At KIOSK, Mater uses the exhibition walls and floor surface as a canvas for the site-specific composition Fields on a Line. The realization of the painted work is captured by a camera that repeatedly travels a predetermined path throughout the rooms. Different moments are thus layered in time, and parallel spaces unfold in front of the lens. The track covered by the camera eye and the added timeline that emerges in the process, are transposed and visualized on multiply exposed film. The result is a 16mm video installation with the exhibition space as a residue.

20.09.14 - 09.11.14

Runa Islam

Exhibition
Runa Islam, 'Anatomical Study', 2014. Photo Tom Callemin.
Runa Islam, 'Anatomical Study', 2014. Photo Tom Callemin.
Runa Islam, 'Anatomical Study', 2014. Photo Tom Callemin.
Runa Islam, 'Anatomical Study', 2014. Photo Tom Callemin.
Runa Islam, 'Anatomical Study', 2014. Photo Tom Callemin.
Runa Islam, 'Anatomical Study', 2014. Photo Tom Callemin.
Runa Islam, 'Anatomical Study', 2014. Photo Tom Callemin.
Runa Islam, 'Anatomical Study', 2014. Photo Tom Callemin.
Runa Islam, 'Anatomical Study', 2014. Photo Tom Callemin.
Runa Islam, 'Anatomical Study', 2014. Photo Tom Callemin.
Runa Islam, 'Anatomical Study', 2014. Photo Tom Callemin.
Runa Islam, 'Anatomical Study', 2014. Photo Tom Callemin.
Runa Islam, 'Anatomical Study', 2014. Photo Tom Callemin.
Runa Islam, 'Anatomical Study', 2014. Photo Tom Callemin.
Runa Islam, 'Anatomical Study', 2014. Photo Tom Callemin.
Runa Islam, 'Anatomical Study', 2014. Photo Tom Callemin.
Runa Islam, 'Anatomical Study', 2014. Photo Tom Callemin.
Runa Islam, 'Anatomical Study', 2014. Photo Tom Callemin.
Runa Islam, 'Anatomical Study', 2014. Photo Tom Callemin.
Runa Islam, 'Anatomical Study', 2014. Photo Tom Callemin.
Runa Islam, 'Anatomical Study', 2014. Photo Tom Callemin.
Runa Islam, 'Anatomical Study', 2014. Photo Tom Callemin.
Runa Islam, 'Anatomical Study', 2014. Photo Tom Callemin.
Runa Islam, 'Anatomical Study', 2014. Photo Tom Callemin.
Runa Islam, 'Anatomical Study', 2014. Photo Tom Callemin.
Runa Islam, 'Anatomical Study', 2014. Photo Tom Callemin.
Runa Islam, 'Anatomical Study', 2014. Photo Tom Callemin.
Runa Islam, 'Anatomical Study', 2014. Photo Tom Callemin.
Runa Islam, 'Anatomical Study', 2014. Photo Tom Callemin.
Runa Islam, 'Anatomical Study', 2014. Photo Tom Callemin.
Runa Islam, 'Anatomical Study', 2014. Photo Tom Callemin.
Runa Islam, 'Anatomical Study', 2014. Photo Tom Callemin.

Anatomical Study

The work of Runa Islam (1970, Bangladesh, lives and works in London) is known for looking outside a given frame of view in its nuanced enquiry into matters of perception and representation. She often combines a conceptual and experimental approach, transforming, disrupting and enhancing existing visual mechanisms.

For the solo show ‘Anatomical Study’ presented at KIOSK, Islam explores new methods of working whilst reflecting upon the rapidly changing climate of moving image technologies and finds a way to reconsider and essentialise the materials of the film medium beyond issues of obsolescence.

Engaging with the original function of the KIOSK space as a didactic anatomical theatre, Islam presents two existing works titled ‘Anatomical Study I’, a 16mm film and ‘Anatomical Study II’, a sculpture. Alongside these works a new series of sculptures and drawings have been made using the meaning and methods of such studies. In place of traditional cinematographic images, Islam dissects their innate qualities in their finest particulate detail. For example, considering the process of film as akin to a functioning body, Islam has created the sculptures solely from silver retrieved from exposed film stock (one of few physical residues that remain from film’s fleeting succession of images). In a type of alchemical transfiguration old bodies yield new forms.

The ‘raw’ film-silver, is presented as a stock of bars. In addition, several everyday items found in the working environment of Islam’s studio, among which a number of old pencils and an orchid plant, are the subject of the new sculptures made from this stock. Promoting endless permutations, Islam further instrumentalises the cast pencils to create a set of silverpoint drawings. Notably, silverpoint was a drawing technique favoured during the early Renaissance. The images vary from architectural details at KIOSK to references to eighteenth-century anatomical wax models and self-reflexive drawings of the pencils themselves.

Alongside Islam’s works, a group of nineteenth-century hand-made wax orchids from the collection at Kew Gardens, London are displayed. These artefacts were commissioned as teaching aids in an era prior to photography, much like the anatomical wax models of the same era. Considering a pre-photographic era underscores Islam’s experiments at KIOSK. Her inquisitive investigations into form shifting – back and forth from image to object, (between two-dimensional representation and three-dimensional presentation), open up questions about how artistic expression grapples with formal constraints, as through the meticulous cutting and combining of separate fragments, Islam creates a narrative to fit the exhibition space.

18.09.14—09:15

L’Internationale Online

Launch online platform
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L’Internationale Online

On the occasion of the launch of the new online platform for research, resources and discussion - L’Internationale Online - Vasıf Kortun (SALT, Istanbul), Francesco Salvini (Fundación de los Comunes) and Luca Bergamo (Secretary-General, Culture Action Europe, Brussels) will discuss the relation between cultural civic institutions and democracy.

The discussion is organized by KASK / School of Arts of University College Ghent and L’Internationale and will be moderated by Nataša Petrešin-Bachelez (Managing Editor of L’Internationale Online, KASK) and Steven ten Thije (Project Leader of L’Internationale, Van Abbemuseum, Eindhoven).

KIOSK is partner of L'Internationale through its affiliation with KASK.

More information about the launch at KASK here.

Launch online platform
18.03.10—20:00

Susanne Kriemann & Mekhitar Garabedian

Artist talk
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Susanne Kriemann & Mekhitar Garabedian, artist talk, 18.03.2010. Photo Marijke Respeel

Susanne Kriemann & Mekhitar Garabedian

The artist talk featuring Susanne Kriemann (D) and Mekhitar Garabedian (B) will take place in conjunction with the artists’ current duo-exhibition at KIOSK. Located at the former anatomical theatre of the Bijloke site’s renovated Cloquet Institute, it is the first exhibition organised by KIOSK within its renewed mode of operation.

The exhibition does not merely display the two artists’ work; it also demonstrates the way in which they have sought to construct a meaningful dialogue with the exhibition space and its rather determinative architecture. Both artists are particularly fascinated by the relationship between a place’s history, identity, time and memory, and each of them attempts to give meaning to these subjects in her own individual, usually highly inquisitive, way.

During this artist talk the artists will discuss the distinct research process that has contributed to the creation of the works currently exhibited at KIOSK. Their individual approaches will thus be juxtaposed, allowing the two artists to look for similarities between their separate bodies of work in joint discourse.

27.05.10—20:00

Edith Dekyndt

Artist talk
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Edith Dekyndt, artist talk, 27.05.2010. Photo Sander Buyck

Edith Dekyndt

A lecture by Edith Dekyndt, organized within the framework of her exhibition 'Get Out of My Cloud' at KIOSK.

08.06.10—20:00

Rik Moens

Artist talk
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Rik Moens, artist talk, 08.06.2010. Photo Kathleen Wijnen.

Rik Moens

On the occasion of Rik Moens’ exhibition at KIOSK, Tanguy Eeckhout will enter into conversation with the artist Rik Moens on the subject of painting today. As a member of the artistic staff at the museum Dhondt-Dhaenens, Tanguy Eeckhout is involved with the realisation of the Biennale of Painting, which this year concerns itself with the hankering for the sublime in painting. The exhibition will be open to visitors both before and after the lecture.

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Zoe Beloff, lecture, 12.10.2010. Photo Laurent Fobe.

Zoe Beloff

Artist Zoe Beloff gives a lecture at KASK - University College Ghent. This lecture has been organized within the framework of her exhibition at KIOSK.

In collaboration with KASK lecture series.

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Zoe Beloff, 'Charming Augustine' (filmstill), 2005, film screening, 11.10.2010

Zoe Beloff

Zoe Beloff will introduce two of her stereoscopic films during a special film screening:
‘Shadow Land or Light from the Other Side’, 2000, 32’,16mm & ‘Charming Augustine’, 2005, 40’, 16mm.

In collaboration with Art Cinema OFFoff.



Film Screening
23.01.11—14:00

Geert Goiris & Vincent Lamouroux

Artist talk
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Geert Goiris & Vincent Lamouroux, artist talk, 23.01.2011.

Geert Goiris & Vincent Lamouroux

A conversation with Geert Goiris and Vincent Lamouroux about the realization of their collaborative project in KIOSK.

08.11.11—20:00

Zin Taylor

Lecture
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Zin Taylor, lecture, 08.11.11. Photo Laurent Fobe.

Zin Taylor

Artist Zin Taylor gives a lecture at the School of Arts - University College Ghent. This lecture has been organized within the framework of his exhibition at KIOSK.

In collaboration with KASK lecture series.

22.01.12—16:00

Slavs&Tatars & Chokri Ben Chikha

Lecture & Performance
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Chokri Ben Chikha, performance, 22.01.2012.
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Chokri Ben Chikha, performance, 22.01.2012.

Slavs&Tatars & Chokri Ben Chikha

Standing squarely as bookends to the two major geopolitical narratives of the last and current century – the communist project in the 20th and revolutionary Islam in the 21st, ‘79.89.09’ looks at two key modern moments – the Iranian Revolution of 1979 and Poland’s Solidarnosc movement in the 1980s – as a narrative strategy to read the recent past.
The lecture will be followed by a performance by Chokri Ben Chikha (researcher School of Arts Ghent).

The lecture had to be cancelled due to illness of the speaker. The performance has taken place.

Lecture & Performance
22.03.12—20:00

Nick Oberthaler

Artist talk
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Nick Oberthaler & Francesco Stocchi, artist talk, 22.03.2012.
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Nick Oberthaler & Francesco Stocchi, artist talk, 22.03.2012.

Nick Oberthaler

Artist Nick Oberthaler talks to Francesco Stocchi, Senior Curator Modern and Contemporary Art at Museum Boijmans Van Beuningen, about his work and his exhibition currently on view at KIOSK.

17.04.12—19:00

Mekhitar Garabedian

Book presentation
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Mekhithar Garabedian, book presentation, 17.04.2012.
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Mekhithar Garabedian, book presentation, 17.04.2012.
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Mekhithar Garabedian, book presentation, 17.04.2012.

Mekhitar Garabedian

Black Pages issue#29 featuring MEKHITAR GARABEDIAN is presented at KASKcafé.
Black Pages is an often releasing artist-fanzine in Vienna and worldwide. It is a project by Christoph Meier, Ute Müller & Nick Oberthaler.

In collaboration with Black Pages.

Book presentation
02.06.12—20:00

Jan De Cock

Book presentation
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Jan de Cock, invitation for book presentation, 02.06.2012.
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Jan de Cock, invitation for book presentation, 02.06.2012.

Jan De Cock

The book
‘JACQUELINE KENNEDY ONASSIS
Eine Romantische Ausstellung/
A Romantic Exhibition von by /
Jan De Cock’
is presented at KASKcafé.

Speakers:
Liene Aerts (KIOSK)
Luc Derycke (MER. Paper Kunsthalle)
Johan Holten (Staatliche Kunsthalle Baden-Baden)

In collaboration with Copyright Bookshop.

Book presentation
06.01.13—15:00

Jean Bernard Koeman & Koen Augustijnen

Performance
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Jean Bernard Koemans & Koen Augustijnen, 'The Unfolding of the Relentless Unforseen', performance, 06.01.2013.
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Jean Bernard Koemans & Koen Augustijnen, 'The Unfolding of the Relentless Unforseen', performance, 06.01.2013.
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Jean Bernard Koemans & Koen Augustijnen, 'The Unfolding of the Relentless Unforseen', performance, 06.01.2013.
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Jean Bernard Koemans & Koen Augustijnen, 'The Unfolding of the Relentless Unforseen', performance, 06.01.2013.
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Jean Bernard Koemans & Koen Augustijnen, 'The Unfolding of the Relentless Unforseen', performance, 06.01.2013.

Jean Bernard Koeman & Koen Augustijnen

During this event, Jean Bernard Koeman’s installation ‘The Unfolding of the Relentless Unforeseen’ is activated in a performance situation for a second time by dancer/choreographer Koen Augustijnen (Les Ballets C de la B).

12.02.13—20:00

Ulla von Brandenbrug

Lecture
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Ulla von Brandenburg, lecture, 12.02.2013.
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Ulla von Brandenburg, lecture, 12.02.2013.

Ulla von Brandenbrug

Ulla von Brandenburg gives a lecture at the School of Arts - University College Ghent. This lecture has been organized within the framework of her exhibition at KIOSK.

In collaboration with KASK lecture series.

21.04.13—17:00

Dirk Zoete

Book presentation
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Dirk Zoete, 'The Big Convoy', book presentation, 21.04.2013.
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Dirk Zoete, 'The Big Convoy', book presentation, 21.04.2013.
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Dirk Zoete, 'The Big Convoy', book presentation, 21.04.2013. Photo Laurent Fobe.

Dirk Zoete

Launch of Posture Editions N°5 with Dirk Zoete – ‘The Big Convoy’. On the occasion of this book presentation, a selection of recent works by Dirk Zoete is presented.

In collaboration with Posture Editions.

Book presentation
14.04.13—17:00

Ulla von Brandenbrug

Screening
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Ulla von Brandenburg, '8' (filmstill), 2007, film screening, 14.04.2013.

Ulla von Brandenbrug

On the last day of the exposition by Ulla von Brandenburg, KIOSK presents a selection of her black-and-white, 16 mm film work at KASKcinema:
’8′ (2007, 8’10”)
‘Kugel’ (2007, 2’46”)
‘Geist’ (2007, 1’30″)
‘Singspiel’ (2009, 4’34”)
‘The Objects’ (2009, 5’37”)

In collaboration with KASKcinema.

22.10.13—20:00

Vincent Meessen

Lecture
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Vincent Meessen & Avery Gordon, lecture, 22.10.2013.
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Vincent Meessen & Avery Gordon, lecture, 22.10.2013.

Vincent Meessen

Within the frame of the exhibition, a conversation between Vincent Meessen and Avery Gordon takes place. Avery Gordon is professor of sociology at the University of California, Santa Barbara and Visiting Faculty Fellow at Goldsmiths College, University of London.

In collaboration with KASK lecture series.

26.11.13—20:00

Zachary Formwalt

Lecture
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Zachary Formwalt, lecture, 26.11.2014.
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Zachary Formwalt, lecture, 26.11.2014.

Zachary Formwalt

Zachary Formwalt gives a lecture at the School of Arts - University College Ghent. This lecture has been organized within the framework of his exhibition at KIOSK.

In collaboration with KASK lecture series.

04.04.14 - 15.06.14

Eric Baudelaire & Mathieu Kleyebe Abonnenc

Exhibition
Eric Baudelaire & Mathieu Abonnenc, 'L'œil se noie', 2014. Photo Tom Callemin.
Eric Baudelaire & Mathieu Abonnenc, 'L'œil se noie', 2014. Photo Tom Callemin.
Eric Baudelaire & Mathieu Abonnenc, 'L'œil se noie', 2014. Photo Tom Callemin.
Eric Baudelaire & Mathieu Abonnenc, 'L'œil se noie', 2014. Photo Tom Callemin.
Eric Baudelaire & Mathieu Abonnenc, 'L'œil se noie', 2014. Photo Tom Callemin.
Eric Baudelaire & Mathieu Abonnenc, 'L'œil se noie', 2014. Photo Tom Callemin.
Eric Baudelaire & Mathieu Abonnenc, 'L'œil se noie', 2014. Photo Tom Callemin.
Eric Baudelaire & Mathieu Abonnenc, 'L'œil se noie', 2014. Photo Tom Callemin.
Eric Baudelaire & Mathieu Abonnenc, 'L'œil se noie', 2014. Photo Tom Callemin.
Eric Baudelaire & Mathieu Abonnenc, 'L'œil se noie', 2014. Photo Tom Callemin.
Eric Baudelaire & Mathieu Abonnenc, 'L'œil se noie', 2014. Photo Tom Callemin.
Eric Baudelaire & Mathieu Abonnenc, 'L'œil se noie', 2014. Photo Tom Callemin.
Eric Baudelaire & Mathieu Abonnenc, 'L'œil se noie', 2014. Photo Tom Callemin.
Eric Baudelaire & Mathieu Abonnenc, 'L'œil se noie', 2014. Photo Tom Callemin.
Eric Baudelaire & Mathieu Abonnenc, 'L'œil se noie', 2014. Photo Tom Callemin.
Eric Baudelaire & Mathieu Abonnenc, 'L'œil se noie', 2014. Photo Tom Callemin.
Eric Baudelaire & Mathieu Abonnenc, 'L'œil se noie', 2014. Photo Tom Callemin.
Eric Baudelaire & Mathieu Abonnenc, 'L'œil se noie', 2014. Photo Tom Callemin.
Eric Baudelaire & Mathieu Abonnenc, 'L'œil se noie', 2014. Photo Tom Callemin.
Eric Baudelaire & Mathieu Abonnenc, 'L'œil se noie', 2014. Photo Tom Callemin.
Eric Baudelaire & Mathieu Abonnenc, 'L'œil se noie', 2014. Photo Tom Callemin.
Eric Baudelaire & Mathieu Abonnenc, 'L'œil se noie', 2014. Photo Tom Callemin.
Eric Baudelaire & Mathieu Abonnenc, 'L'œil se noie', 2014. Photo Tom Callemin.
Eric Baudelaire & Mathieu Abonnenc, 'L'œil se noie', 2014. Photo Tom Callemin.
Eric Baudelaire & Mathieu Abonnenc, 'L'œil se noie', 2014. Photo Tom Callemin.
Eric Baudelaire & Mathieu Abonnenc, 'L'œil se noie', 2014. Photo Tom Callemin.
Eric Baudelaire & Mathieu Abonnenc, 'L'œil se noie', 2014. Photo Tom Callemin.
Eric Baudelaire & Mathieu Abonnenc, 'L'œil se noie', 2014. Photo Tom Callemin.
Eric Baudelaire & Mathieu Abonnenc, 'L'œil se noie', 2014. Photo Tom Callemin.
Eric Baudelaire & Mathieu Abonnenc, 'L'œil se noie', 2014. Photo Tom Callemin.

L’œil se noie

The exhibition L’œil se noie is the result of an intuitive dialogue between the two French artists Eric Baudelaire and Mathieu Kleyebe Abonnenc. Their work stems from a shared interest in the gaps and fissures that make up stories, as well as the challenges and promises they hold.

At the heart of their practices is a desire to highlight the tensions between what has been, what seems to be, and what could have been; to pick up the traces of forgotten and unresolved questions and divert them towards uncertain destinations, out of the dead-end circuits where things and thoughts get trapped in their own finitudes. In short, L’œil se noie is about “unfinished business”, as one of the pieces in the show suggests. Sometimes quite literally, as in the case of Abonnenc’s search for the lost film Guns for Banta (1970) by Sarah Maldoror, a film dealing with the struggle for the independence in Guinea and Cape Verde that has never seen the light of day, or Baudelaire’s work The Makes based on some of Michelangelo Antonioni’s unrealized scenarios.

In other cases, their work consists more of a rewiring of connections between one sense and another, between one time and another. The film work Ça va, ça va, on continue, for example, highlights the complications implicit in remembering, representing and voicing distant histories of anti-colonial revolt and revolutionary insurrection. Chanson d’Automne, in turn, is an assemblage of clippings from The Wall Street Journal dated September 2008 that reveals a poetry of resistance within the fracture lines of a dysfunctional economic order. At odds with all laments of the ‘death of the image’ and the ‘end of history’, the works in this exhibition propose a renewed faith in the hidden potential of the present, puncturing the impasses and aporias of finitude, and giving way to the necessarily unfinished spaces for wandering and wondering.

L’œil se noie is organized in conjunction with The Fire Next Time, a two day program of interventions and screenings dealing with the militant image and its resonances (03.04.2014-04.04.2014, KASK - School of Arts Gent). Both events are organized as part of The Uses of Art – The Legacy of 1848 and 1989, a project initiated by the museum confederation L’Internationale. More information: www.thefirenexttime.be

Paris-based artist Eric Baudelaire’s (1973, Salt Lake City) recent solo exhibitions were held at Bétonsalon, Paris; Kunsthall, Bergen; Galerie Greta Meert, Brussels; Beirut Art Center, Lebanon; Gasworks, London; and The Hammer Museum, Los Angeles.
Occasions and venues where he has recently participated in group shows include 8th Taipei Biennial, Taiwan; Baltic Triennial of International Art, Vilnius; Berlin Documentary Forum II, Haus der Kulturen der Welt; La Triennale, Palais de Tokyo, Paris; Le Plateau / FRAC, Paris; FRAC, Metz; and Casino Luxembourg, Luxembourg.
His films have been in competition at many festivals including Locarno, FID Marseille and International Film Festival Rotterdam.

Mathieu Kleyebe Abonnenc (1977, French Guiana, currently based in Metz) has recently presented his work in solo shows in such venues as Kunsthalle Basel; Bielefelder Kunstverein; Fondation Serralves, Porto; Pavilion, Leeds; La Ferme du Buisson, Noisiel; Marcelle Alix, Paris; and Gasworks, London.
Among others, his work was included in numerous group shows: Centro de Arte Dos de Mayo, Madrid; Palais de Tokyo, Paris; MUDAM, Luxembourg; Khiasma, Les Lilas; MAC Marseille; La Triennale, Palais de Tokyo, Paris; 14th Prix Fondation d’entreprise Ricard, Paris; ICA- Institute of contemporary art, University of Pennsylvania; Gasworks, London; Museum of Modern Art, Paris; and FRAC Lorraine, Metz.

Related events:

01.04.14, 20:00, lecture @ Cirque, KASK-School of Arts Ghent:
Lecture by Mathieu Abonnenc at the School of Arts, University College Ghent. This lecture has been organized within the framework of his exhibition at KIOSK.
(in collaboration with KASK lecture series)

04.04.2014, 22:00, concert @ Minard Schouwburg:
The opening of ‘L’œil se noie’ will be followed by a concert at Minard theatre at 10 pm
In collaboration with Courtisane and Vooruit. The compositions ‘Crazy Nigger en Gay Guerilla’ for 4 pianos will be performed by Frederik Croene, Bob Gilmore, Stéphane Ginsburgh and Reinier van Houdt. Tickets at Vooruit.
(in collaboration with Courtisane & Vooruit)

06.04.2014, 11:00, film @ SPHINX:
Film screening of ‘The Ugly One’ (2013) by Eric Baudelaire
(part of the Courtisane festival)

03.04.2014 & 04.04.2014, event @ KASK-School of Arts Ghent:
‘THE FIRE NEXT TIME - Afterlives of the militant image’ is a two-day programme of interventions, screenings and performances dealing with the militant image and its resonances. ‘The Fire Next Time’ is organized in the context of the research project ‘Figures of Dissent’ by Stoffel Debuysere at KASK-School of Arts.
(KIOSK and KASK in association with L’Internationale, in collaboration with Courtisane)

Performances at Minard Schouwburg:
- 03.04.14, 20:30: ‘Möglichkeitsraum (The Blast of the Possible)’: performance by Angela Melitopoulos & Bettina Knaup.
- 03.04.14, 22:00: ‘When we act or undergo, we must always be worthy of what happens to us’: performance by Ayreen Anastas & Rene Gabri

Full program: www.thefirenexttime.be.

L’œil se noie is organized with the support of the Culture Programme of the European Union and with the support of the French Embassy in Belgium.

Mathieu Kleyebe Abonnenc

Cinéma chez les balantes

Author: Suzanne Lipinska
Editor: Mathieu Kleyebe Abonnenc
Year: 2014

Pages: 56
Size: 15 x 21 cm
Price: 2€
Shipping cost: Belgium 2€ / Europe 5€ / Rest of the world 6€

Cinéma chez les balantes, Mathieu Kleyebe Abonnenc, 2014, 15 x 21 cm, 56, 2€, Belgium 2€ / Europe 5€ / Rest of the world 6€

Cinéma chez les balantes

The publication appears on the occasion of Mathieu Kleyebe Abonnenc's and Eric Baudelaire's ‘L'œil se noie’ exhibition at KIOSK (05.04.2014 – 15.06.2014).

'Cinéma chez les balantes' ('Filming with The Balanta People') includes a translated reissue of a number of pieces written by Suzanne Lipinska for Africasia magazine in June-July 1970, while she accompanied the liberation army of Guinea-Bissau and director Sarah Maldoror who was then working on 'Guns for Banta'.

Introduction by Abonnenc:
"Following his two-week trip in the jungle of Guinea-Bissau,
Suzanne Lipinska joins the director Sarah Maldoror to get
on the island of Diabada. It is on this small piece of the Republic
of Guinea that Sarah Maldoror decided to shoot his new film
Guns for Banta.
The film, produced by the Democratic and Popular Republic
of Algeria, and commissioned by the P.A.I.G.C., stages the first
moments of opposition against the Portuguese colonialism.
It tells the political awakening of a peasant, whose martyr brings
an entire population to rise.
Suzanne Lipinska’s precious testimony allows us to perceive
the difficulty of involving the people in the production of a militant
cinema, and by extension into a revolutionary process."

Text and photographs by Suzanne Lipinska. Graphic design by deValence.

Publication
click to open click to close
24.04.14-27.04.14

LE FAUX SOIR

Extra muros
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KIOSK booth - 'Le Faux Soir' project @ Art Brussels 2014
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KIOSK booth - 'Le Faux Soir' project @ Art Brussels 2014
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KIOSK booth - 'Le Faux Soir' project @ Art Brussels 2014
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KIOSK booth - 'Le Faux Soir' project @ Art Brussels 2014

LE FAUX SOIR

KIOSK was invited to participate in this year’s edition of Art Brussels in the not-for-profit section. KIOSK will present a series of four newspaper editions, one for each day of the fair, conceived by artists who have previously shown work at KIOSK.

The project Le Faux Soir takes its title from a one-off counterfeit of the French-language Belgian newspaper Le Soir. This ‘spoof edition’ was published on 9 November 1943 by the Belgian resistance organisation The Independent Front. Le Faux Soir humorously subverted the propagandist discourse of the occupying forces with the explicit aim of ridiculing them, distributing thousands of copies in the kiosks of Brussels.

Inspired by the story of Le Faux Soir, KIOSK has invited four artists to make a newspaper edition. In their practices, these artists engage with the relation between language, meaning and representation – often with a note of humour or irony. The artists often use the publication format in their practice, and some take up Marcel Broodthaers’s strategy of using fictional means to visualize hidden realities. The artists are: Mekhitar Garabedian, Rana Hamadeh, Sophie Nys, and Koenraad Dedobbeleer.

If you would like to have a copy of the newspapers, just send an e-mail to kiosk@hogent.be or visit our exhibition and get free copies at the counter.

Nick Oberthaler

Untitled (les mémoires s’estompent…)

2013

40 x 30 cm and 18 x 13 cm

500 EUR (incl. VAT, excl. shipping costs)

Contact us to order

Untitled (les mémoires s’estompent…), 2013, 40 x 30 cm and 18 x 13 cm, 500 EUR (incl. VAT, excl. shipping costs)

Untitled (les mémoires s’estompent…)

The edition consists of two parts and comes with a small aluminium shelf to display the work. However, the purchasers of the work are free to install the work to their liking.
Technique: Spray paint on mirror. Inkjet print, pastel and mat varnish on Fine Art Smooth Harman Hahnemühle paper 300g, mounted on 2mm Dibond.

Edition of 5 + 2 AP

SOLD OUT

03.04.14-04.04.14

THE FIRE NEXT TIME - Afterlives of the militant image

Symposium
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THE FIRE NEXT TIME - Afterlives of the militant image

A two-day programme of interventions, screenings and performances dealing with the militant image and its resonances.

The Fire Next Time is organized in the context of the research project Figures of Dissent by Stoffel Debuysere at KASK-School of Arts.

KIOSK and KASK in association with L’Internationale, in collaboration with Courtisane.

Participants:
Irmgard Emmelhainz, Sabu Kohso & Go Hirasawa, Eric Baudelaire, Mohanad Yaqubi & Reem Shilleh (Subversive Film), Angela Melitopoulos & Bettina Knaup, Ayreen Anastas & Rene Gabri, Olivier Hadouchi, Basia Lewandowska Cummings, Mathieu K. Abonnenc, Evan Calder Williams & Victoria Brooks, Raquel Schefer, Ramiro Ledo Cordeiro, Daphné Hérétakis.

Performances at Minard Schouwburg:
- 03.04.14, 20:30: 'Möglichkeitsraum (The Blast of the Possible)': performance by Angela Melitopoulos & Bettina Knaup.
- 03.04.14, 22:00: ‘When we act or undergo, we must always be worthy of what happens to us’: performance by Ayreen Anastas & Rene Gabri

Full program: www.thefirenexttime.be.

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Rana Hamadeh, 'And Before It Falls It Is Only Reasonable To Enjoy Life a Little', performance, 23.03.2014. Photo Yves Kerckhoffs.
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Rana Hamadeh, 'And Before It Falls It Is Only Reasonable To Enjoy Life a Little', performance, 23.03.2014. Photo Yves Kerckhoffs.
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Rana Hamadeh, 'And Before It Falls It Is Only Reasonable To Enjoy Life a Little', performance, 23.03.2014. Photo Yves Kerckhoffs.
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Rana Hamadeh, 'And Before It Falls It Is Only Reasonable To Enjoy Life a Little', performance, 23.03.2014. Photo Yves Kerckhoffs.
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Rana Hamadeh, 'And Before It Falls It Is Only Reasonable To Enjoy Life a Little', performance, 23.03.2014. Photo Yves Kerckhoffs.

Rana Hamadeh

The show A River In A Sea In A River will end with a closing reception at 6 pm and with the performance And Before It Falls It Is Only Reasonable To Enjoy Life a Little by Rana Hamadeh at 6.30 pm.

Inspired by Sun Ra's 1974 film Space is the Place, Oskar Schlemmer's 1926 Diagram for Gesture Dance and Paulus Fürst's 1656 engraving of Doctor Schnabel of Rome, this performance is an exhaustive deliberation on the notion and gesture of 'falling'.

07.02.14 - 23.03.14

Hamza Halloubi

Opening: Friday 7 February 2014 - 20:00

Exhibition
Hamza Halloubi, 'Appear', 2014. Photo Tom Callemin.
Hamza Halloubi, 'Appear', 2014. Photo Tom Callemin.
Hamza Halloubi, 'Appear', 2014. Photo Tom Callemin.
Hamza Halloubi, 'Appear', 2014. Photo Tom Callemin.
Hamza Halloubi, 'Appear', 2014. Photo Tom Callemin.
Hamza Halloubi, 'Appear', 2014. Photo Tom Callemin.
Hamza Halloubi, 'Appear', 2014. Photo Tom Callemin.
Hamza Halloubi, 'Appear', 2014. Photo Tom Callemin.

Appear

KIOSK presents a duo show with work by Moroccan artist Hamza Halloubi (1982, currently based in Brussels and Tangier), and Lebanese artist Rana Hamadeh (1983, currently based in Rotterdam). Both artists seek out the fictionalized and subjective narrative within the public reality of our existence. Their stories offer an alternative for the conventional understandings of history, language, identity and difference.

With his video work, Hamza Halloubi aims for an essentialized reading experience. He reduces the image to its most elementary form: a cinema that captures and transforms reality. Austerely shot footage, voice-overs, familiar-looking spaces such as living rooms or theatres, and subjects like solitude, dislocation, and institution are elements that recur throughout his work. Guided by the artist-author’s voice, Halloubi’s work maintains a philosophical aspect that refers both to theoretical knowledge and to personal memories. After surveying a place or person in its entirety, he penetrates the surface towards a more complex history of the subject matter.

The exhibition Appear is focalized around the materialization of an appearance and its inner thoughts, knowledge and memory. At KIOSK, Halloubi presents a new work in progress that takes a fascination for Iranian actress Golshifteh Farahani as its starting point. Farahani plays the part of a public Hollywood personality and diva, but at the same time she is a political refugee who carefully shields her identity and personality from the public. The question as to how a figure like Farahani might appear leads to extensive research into her appearance and the various idealizations that are projected upon her by the language of cinema and media in the West and the East. The resulting portrait, Appear, developed from the idea of the unapproachable and the possibilities under these conditions for two people to meet directly or indirectly in front of a camera. Two more video pieces, Letter to Aura (2012) and Apparitions à Soco Chico (2013) relate to the same theme. Letter to Aura starts from the artist’s subjective narration to reflect on his specific geopolitical location. Apparitions à Soco Chico questions the contemporary perception of filmed images in relation to the history of cinema.

07.02.14 - 23.03.14

Rana Hamadeh

Opening: Friday 7 February 2014 - 20:00

Exhibition
Rana Hamadeh, 'Craters formed by fallen Meteorites, Arizona, Press Photo', 1942, Courtesy of the Artist
Rana Hamadeh, 'Craters formed by fallen Meteorites, Arizona, Press Photo', 1942, Courtesy of the Artist
Rana Hamadeh, 'A River in A Sea in A River', 2014. Photo Tom Callemin.
Rana Hamadeh, 'A River in A Sea in A River', 2014. Photo Tom Callemin.
Rana Hamadeh, 'A River in A Sea in A River', 2014. Photo Tom Callemin.
Rana Hamadeh, 'A River in A Sea in A River', 2014. Photo Tom Callemin.
Rana Hamadeh, 'A River in A Sea in A River', 2014. Photo Tom Callemin.
Rana Hamadeh, 'A River in A Sea in A River', 2014. Photo Tom Callemin.
Rana Hamadeh, 'A River in A Sea in A River', 2014. Photo Tom Callemin.
Rana Hamadeh, 'A River in A Sea in A River', 2014. Photo Tom Callemin.
Rana Hamadeh, 'A River in A Sea in A River', 2014. Photo Tom Callemin.
Rana Hamadeh, 'A River in A Sea in A River', 2014. Photo Tom Callemin.
Rana Hamadeh, 'A River in A Sea in A River', 2014. Photo Tom Callemin.
Rana Hamadeh, 'A River in A Sea in A River', 2014. Photo Tom Callemin.
Rana Hamadeh, 'A River in A Sea in A River', 2014. Photo Tom Callemin.
Rana Hamadeh, 'A River in A Sea in A River', 2014. Photo Tom Callemin.
Rana Hamadeh, 'A River in A Sea in A River', 2014. Photo Tom Callemin.
Rana Hamadeh, 'A River in A Sea in A River', 2014. Photo Tom Callemin.

A River In A Sea In A River

KIOSK presents a duo show with work by Lebanese artist Rana Hamadeh (1983, currently based in Rotterdam), and Moroccan artist Hamza Halloubi (1982, currently based in Brussels and Tangier). Both artists seek out the fictionalized and subjective narrative within the public reality of our existence. Their stories offer an alternative for the conventional understandings of history, language, identity and difference.

Rana Hamadeh’s practice currently revolves around GRAPHIS N°127 and Alien Encounters, two overarching long-term projects in which found documents, historical events, personal encounters and fiction are interwoven in new installations, publications and lecture performances. Throughout her fictional tales and scripted performances, the artist questions the conditions of looking and interpreting, the restrictive nature and the authority of signification.

The exhibition A River In A Sea In A River is a further exploration of the themes of Alien Encounters by way of a theatrical scenography: a large installation in the central exhibition room presents a map and a series of objects that set out the storylines of the research at hand. The table piece can be read as a non-linear sequence of political events, associative traces and cultural constructions that problematize the notion of ‘alienness’. Hamadeh’s fascination for the ‘alien’ encompasses not only the extra-terrestrial being, but also the outsider, the outlaw, and his potential for resistance. A River In A Sea In A River aims for a narrative topology with an expanding cartographic network of stories, places and encounters. Hamadeh considers the installation a functional ‘war map’ and ‘catwalk’, a tailor-made tool to be employed in her lecture performances in the exhibition space.

Susanne Kriemann

Ashes and Broken Brickwork of a Logical Theory

Author: Dieter Roelstraete, Wim Waelput, Axel John Wieder
Editor: Künstlerhaus Stuttgart / KIOSK
Year: 2010

Pages: 128
Size: 13 x 19,5 cm
Price: 12€
Shipping cost: Belgium 2€ / Europe 5€ / Rest of the world 6€

Ashes and Broken Brickwork of a Logical Theory, Künstlerhaus Stuttgart / KIOSK, 2010, 13 x 19,5 cm, 128, 12€, Belgium 2€ / Europe 5€ / Rest of the world 6€

Ashes and Broken Brickwork of a Logical Theory

The publication appears on the occasion of Susanne Kriemann’s exhibition ‘Ashes and Broken Brickwork of a Logical Theory’ at KIOSK (19.02.2010 - 28.03.2010).

The book can be read as an inventory of the trajectory that Susanne Kriemann pursued in relation to archaeology, to the artefact, to the image of the individual at work and the idea of the desert as a symbol of the modern desire to create an empty slate, a tabula rasa. Material from Agatha Christie s photographic archives is related to photographs that Kriemann produced of the Syrian desert and archaeological sites in Mesopotamia. This associative working method allows the artist to dig towards the past and to disassociate the idea of modernity from all ideological connotations, and in this way analyze the writing of recent history as a formal system of organization.

Design by Christopher Jung and Tobias Wenig, Berlin. ISBN: 978 90 77459 44 7

Publication
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Mekhitar Garabedian

Yavreeges Hokeet Seerem

Year: 2010

Pages: 10
Size: 14 x 20,5 cm
Price: 3€
Shipping cost: Belgium 2€ / Europe 5€ / Rest of the world 6€

Yavreeges Hokeet Seerem, , 2010, 14 x 20,5 cm, 10, 3€, Belgium 2€ / Europe 5€ / Rest of the world 6€

Yavreeges Hokeet Seerem

The publication appears on the occasion of Mekhitar Garabedian’s exhibition ‘Young Man Blues’ at KIOSK (20.02.2010 – 28.03.2010).

The publication illuminates the everyday space that surrounds Mekhitar Garabedian, by way of photographs and philosophical quotations, in a combination of image and imagination, of what a house or a home might represent. The whole is created from a self-assured selection from Garabedian’s image archives, conveying a message that can be poignantly summarized in the leading quotation from Boris Mikhailov. It deals with the standpoint that a photographer should take and the notion that the power of recording a simple, but honest image is stronger than hunting after the ultimate gesture.

Graphic art by Céline Butaye.

Publication
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Zin Taylor

The Allegorical Function Of Dirt: A Discussion With Aki Tsuyuko's Ongakushitsu

Year: 2011

Pages: 10
Size: 14 x 18 cm
Price: 2€
Shipping cost: Belgium 2€ / Europe 5€ / Rest of the world 6€

The Allegorical Function Of Dirt: A Discussion With Aki Tsuyuko's Ongakushitsu, , 2011, 14 x 18 cm, 10, 2€, Belgium 2€ / Europe 5€ / Rest of the world 6€

The Allegorical Function Of Dirt: A Discussion With Aki Tsuyuko's Ongakushitsu

The publication appears on the occasion of Zin Taylor’s exhibition ‘Growth’ at KIOSK (08.10.2011 – 27.11.2011).

“In The Allegorical Function of Dirt: a discussion with Aki Tsyuko’s Ongakushitsu I approached the full-length of Tsuyuko’s album as a base to inform the production of a video featuring twelve landscapes that I had constructed from dirt. My forming of dirt is a visual response to what I imagined to be Tsuyuko’s forming of music into a narrative voice. I read Aki Tsuyuko’s use of the organs and keyboards to compose music as mediators that would record her constructions from the formless material of sound. The completed video containing the discussion between dirt and music was sent to Tsuyuko and a booklet documenting our correspondence accompanies the work. Contacting Tsuyuko was necessary to communicate that what I had read into her album’s intent was an additional narrative proposed as an alternative reading. By responding to Aki Tsuyuko’s album I was curious if I could add to its history in any way or if that action would generate a network of growth – a situation where communication would expand the territory an idea occupied.”

Volume I of an open-ended dialogue. Translations by Shinobu Akimoto. (c) Zin Taylor, 2005.

Publication
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Slavs and Tatars

79.89.09.

Author: Slavs and Tatars
Year: 2011

Pages: 44
Size: 42 x 30 cm
Price: 6€
Shipping cost: Belgium 2€ / Europe 5€ / Rest of the world 6€

79.89.09., , 2011, 42 x 30 cm, 44, 6€, Belgium 2€ / Europe 5€ / Rest of the world 6€

79.89.09.

The publication is a reissue on the occasion of Slavs and Tatars’s exhibition ‘Friendship of Nations: Polish sh’ite showbiz’ at KIOSK (10.12.2011 – 22.01.2012).

'79.89.09' was published as part of 'Again, A Time Machine', a touring exhibition organised by Book Works, and accompanies 'Dear 1979, Meet 1989', a scenography of traditional vernacular Persian riverbeds with integrated rahle to display samples from Slavs and Tatars’ own library focused on the Iranian Revolution of 1979 and Poland’s Solidarność movement and 'Only Solidarity and Patience will secure our victory', a billboard on the façade of Eastside Projects that suggests the pace and methodical nature of Poland’s civil disobedience movement as a precedent and a gift, requisite of any friendship among nations, for the Islamic Republic of Iran.

Edition of 1,500 copies. Graphic design by James Langdon.

Publication
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Ulla von Brandenburg

Nr. 6

Editor: Ulla von Brandenburg
Year: 2013

Pages: 14
Size: 35 x 48 cm
Price: 4€
Shipping cost: Belgium 2€ / Europe 5€ / Rest of the world 6€

Nr. 6, Ulla von Brandenburg, 2013, 35 x 48 cm, 14, 4€, Belgium 2€ / Europe 5€ / Rest of the world 6€

Nr. 6

‘Nr. 6′ is a newspaper edition conceived for Ulla von Brandenburg’s exhibition ‘Gleich Gleich Gleich’ at KIOSK (16.02.2013 – 14.04.2013).
The newspaper reflects the artist’s sources of inspiration. With the depiction of different kinds of quilts the principles of montage and association becomes clear.

Publication
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26.01.14—16:00

Zachary Formwalt

Film screening
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Zachary Formwalt, 'In Place of Capital', 2009 & 'At Face Value', 2008, film screening, 26.01.2013.
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Zachary Formwalt, 'In Place of Capital', 2009 & 'At Face Value', 2008, film screening, 26.01.2013.

Zachary Formwalt

KIOSK organizes a new year’s welcoming and a guided tour of the work of Zachary Formwalt and Pratchaya Phinthong by curator Wim Waelput. Followed by a selection of Formwalt’s film work at KASKcinema, introduced by the artist: ‘In Place of Capital’, 2009, 24’30” & ‘At Face Value’, 2008, 22’30”.

In collaboration with Kaskcinema.

Film screening
29.11.13 - 26.01.14

Pratchaya Phinthong

Opening: Friday 29 November 2013 - 20:00

Exhibition
Pratchaya Phinthong, 'A propsal to set CH4 · 5.75H2O on fire (work in process)', 2014. Photo Tom Callemin.
Pratchaya Phinthong, 'A propsal to set CH4 · 5.75H2O on fire (work in process)', 2014. Photo Tom Callemin.
Pratchaya Phinthong, 'A propsal to set CH4 · 5.75H2O on fire (work in process)', 2014. Photo Tom Callemin.
Pratchaya Phinthong, 'A propsal to set CH4 · 5.75H2O on fire (work in process)', 2014. Photo Tom Callemin.
Pratchaya Phinthong, 'A propsal to set CH4 · 5.75H2O on fire (work in process)', 2014. Photo Tom Callemin.
Pratchaya Phinthong, 'A propsal to set CH4 · 5.75H2O on fire (work in process)', 2014. Photo Tom Callemin.
Pratchaya Phinthong, 'A propsal to set CH4 · 5.75H2O on fire (work in process)', 2014. Photo Tom Callemin.
Pratchaya Phinthong, 'A propsal to set CH4 · 5.75H2O on fire (work in process)', 2014. Photo Tom Callemin.
Pratchaya Phinthong, 'A propsal to set CH4 · 5.75H2O on fire (work in process)', 2014. Photo Tom Callemin.
Pratchaya Phinthong, 'A propsal to set CH4 · 5.75H2O on fire (work in process)', 2014. Photo Tom Callemin.

A proposal to set CH4 · 5.75H2O on fire (work in process)

KIOSK presents a duo exhibition featuring the work of Thai artist Pratchaya Phinthong (1974, currently based in Bangkok) and American artist Zachary Formwalt (1979, currently based in Amsterdam). The practices of these two artists share an outspoken discursive and essayistic quality. In their research they reveal connections between historical, social and political events and search for ways to express social and economic processes that are less visible.

Pratchaya Phinthong initiates a new project dealing with methane hydrate or ‘burning ice’ at KIOSK. The artist is fascinated by the poetic image of burning ice, and also by its metaphorical potential in light of important current geostrategic and social issues such as energy, the economy, and ecology. The sedimentary deposits of methane hydrate are estimated to contain anywhere between two and ten times the amount of methane of the entire known reserves of natural gas. As such, they form a potentially crucial future source of fossil fuel. Phinthong deploys this thought-provoking idea as a conceptual tool for organizing his show A proposal to set CH4 · 5.75H2O on fire (work in process).

Pratchaya Phinthong has had solo exhibitions presented at places such as Chisenhale Gallery, London (2013); Lothringer13_Halle, Munich (2013); gb agency, Paris (2012); Centre d’Art Contemporain, Rennes (2012); Galeria d’Arte Moderna e Contemporanea, Bergamo (2011) and the Centre d’art contemporain, Brétigny (2010). Occasions and venues where he has recently participated in group shows include MUMOK, Vienna (2013); Irish Museum of Modern Art, Dublin (2013); dOCUMENTA (13), Kassel; New Museum Triennial, New York (2012); Taipei Biennial, Taiwan (2012); Kadist Art Foundation, Paris (2011) and Kunsthalle Basel (2011).