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.

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.

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.

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).

29.11.13 - 26.01.14

Zachary Formwalt

Opening: Friday 29 November 2013 - 20:00

Exhibition
Zachary Formwalt, 'A way of removing an element that interferes with the subject', 2013-2014. Photo Tom Callemin.
Zachary Formwalt, 'A way of removing an element that interferes with the subject', 2013-2014. Photo Tom Callemin.
Zachary Formwalt, 'A way of removing an element that interferes with the subject', 2013-2014. Photo Tom Callemin. Film still 'In Light of the Arc', 2013-2014. Courtesy of the artist.
Zachary Formwalt, 'A way of removing an element that interferes with the subject', 2013-2014. Photo Tom Callemin. Film still 'In Light of the Arc', 2013-2014. Courtesy of the artist.
Zachary Formwalt, 'A way of removing an element that interferes with the subject', 2013-2014. Photo Tom Callemin.
Zachary Formwalt, 'A way of removing an element that interferes with the subject', 2013-2014. Photo Tom Callemin.
Zachary Formwalt, 'A way of removing an element that interferes with the subject', 2013-2014. Photo Tom Callemin.
Zachary Formwalt, 'A way of removing an element that interferes with the subject', 2013-2014. Photo Tom Callemin.
Zachary Formwalt, 'A way of removing an element that interferes with the subject', 2013-2014. Photo Tom Callemin.
Zachary Formwalt, 'A way of removing an element that interferes with the subject', 2013-2014. Photo Tom Callemin.
Zachary Formwalt, 'A way of removing an element that interferes with the subject', 2013-2014. Photo Tom Callemin.
Zachary Formwalt, 'A way of removing an element that interferes with the subject', 2013-2014. Photo Tom Callemin.

A way of removing an element that interferes with the subject

KIOSK presents a duo exhibition featuring the work of American artist Zachary Formwalt (1979, currently based in Amsterdam) and Thai artist Pratchaya Phinthong (1974, currently based in Bangkok). 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.

Zachary Formwalt’s show A way of removing an element that interferes with the subject is conceived as a three-part video and photo series dealing with our contemporary global economy. In his work Formwalt repeatedly returns to the metaphorical image of the stock exchange and the inability to visualize the perpetually circulating flows of capital in the world of finance. The first part of this show, the video Unsupported Transit (2011), focuses on the construction site of the new stock exchange in the Chinese city of Shenzhen, designed by Rem Koolhaas’s Office for Metropolitan Architecture. Shenzhen has a special status as an economic zone where the authorities allow the system of the free market to run its course. While Unsupported Transit merely scans the outside of the building, the second piece in the series shows the interior of the finished stock exchange. The video diptych In Light of the Arc (2013) registers the materialization of a place that is paradoxically marked by an increasing dematerialization. As the stock trade is now entirely controlled by IT and advanced logarithms the trade floor with its iconic golden bell has come to serve a merely ceremonial function. The third part of the series turns to architect Hendrik Petrus Berlage’s stock exchange in Amsterdam. Here Formwalt focuses on the question of how Berlage was capable of matching his idealistic, socialist ideas with the capitalist function of the building. This final part of the series is presented here as ongoing research in photographs and documents; the definitive video piece will be finished in the course of 2014.

The exhibition by Zachary Formwalt was made possible with the support of the Mondriaan Fund.

Zachary Formwalt has presented his work in solo shows in such venues as D+T Project, Brussels (2013); ar/ge kunst Galerie Museum, Bolzano (2011); Casco—Office for Art, Design and Theory, Utrecht (2010); Wexner Center for the Arts: The Box, Columbus, Ohio (2010); Kunsthalle Basel (2009); Elder Gallery, Lincoln (2006) and the Rooseum Center for Contemporary Art, Malmö (2005). He has also participated in film festivals and group shows such as the International Film Festival Rotterdam (2013); Liquid Assets at Steirischer Herbst, Graz (2013); Image Employment at MoMA PS1, New York (2013) and the European Media Art Festival in Osnabrück (2013). In 2012 Formwalt won the Illy Prize in Rotterdam.

27.09.13 - 17.11.13

Vincent Meessen & Tshyela Ntendu

Opening: Friday 27 September 2013 - 20:00

Exhibition
Courtesy Royal Museum for Central Africa, Tervuren.
Courtesy Royal Museum for Central Africa, Tervuren.
Vincent Meessen & Tshyela Ntendu, 'Patterns for (Re)cognition', 2013. Photo Tom Callemin
Vincent Meessen & Tshyela Ntendu, 'Patterns for (Re)cognition', 2013. Photo Tom Callemin
Vincent Meessen & Tshyela Ntendu, 'Patterns for (Re)cognition', 2013. Photo Tom Callemin
Vincent Meessen & Tshyela Ntendu, 'Patterns for (Re)cognition', 2013. Photo Tom Callemin
Vincent Meessen & Tshyela Ntendu, 'Patterns for (Re)cognition', 2013. Photo Tom Callemin. Gouache by Ntendu, collection André Magnin, Paris.
Vincent Meessen & Tshyela Ntendu, 'Patterns for (Re)cognition', 2013. Photo Tom Callemin. Gouache by Ntendu, collection André Magnin, Paris.
Vincent Meessen & Tshyela Ntendu, 'Patterns for (Re)cognition', 2013. Photo Tom Callemin
Vincent Meessen & Tshyela Ntendu, 'Patterns for (Re)cognition', 2013. Photo Tom Callemin
Vincent Meessen & Tshyela Ntendu, 'Patterns for (Re)cognition', 2013. Photo Tom Callemin
Vincent Meessen & Tshyela Ntendu, 'Patterns for (Re)cognition', 2013. Photo Tom Callemin
Vincent Meessen & Tshyela Ntendu, 'Patterns for (Re)cognition', 2013. Photo Tom Callemin
Vincent Meessen & Tshyela Ntendu, 'Patterns for (Re)cognition', 2013. Photo Tom Callemin
Vincent Meessen & Tshyela Ntendu, 'Patterns for (Re)cognition', 2013. Photo Tom Callemin
Vincent Meessen & Tshyela Ntendu, 'Patterns for (Re)cognition', 2013. Photo Tom Callemin
Vincent Meessen & Tshyela Ntendu, 'Patterns for (Re)cognition', 2013. Photo Tom Callemin. Gouache by Ntendu, collection Pierre Loos, Brussels.
Vincent Meessen & Tshyela Ntendu, 'Patterns for (Re)cognition', 2013. Photo Tom Callemin. Gouache by Ntendu, collection Pierre Loos, Brussels.
Vincent Meessen & Tshyela Ntendu, 'Patterns for (Re)cognition', 2013. Photo Tom Callemin
Vincent Meessen & Tshyela Ntendu, 'Patterns for (Re)cognition', 2013. Photo Tom Callemin
Vincent Meessen & Tshyela Ntendu, 'Patterns for (Re)cognition', 2013. Photo Tom Callemin
Vincent Meessen & Tshyela Ntendu, 'Patterns for (Re)cognition', 2013. Photo Tom Callemin
Vincent Meessen & Tshyela Ntendu, 'Patterns for (Re)cognition', 2013. Photo Tom Callemin
Vincent Meessen & Tshyela Ntendu, 'Patterns for (Re)cognition', 2013. Photo Tom Callemin
Vincent Meessen & Tshyela Ntendu, 'Patterns for (Re)cognition', 2013. Photo Tom Callemin
Vincent Meessen & Tshyela Ntendu, 'Patterns for (Re)cognition', 2013. Photo Tom Callemin
Vincent Meessen & Tshyela Ntendu, 'Patterns for (Re)cognition', 2013. Photo Tom Callemin
Vincent Meessen & Tshyela Ntendu, 'Patterns for (Re)cognition', 2013. Photo Tom Callemin
Vincent Meessen & Tshyela Ntendu, 'Patterns for (Re)cognition', 2013. Photo Tom Callemin
Vincent Meessen & Tshyela Ntendu, 'Patterns for (Re)cognition', 2013. Photo Tom Callemin

Patterns for (Re)cognition

KIOSK presents the duo show Patterns for (re)cognition, with works by Belgian artist Vincent Meessen (1971, Baltimore, US) and Congolese artist Tshyela Ntendu (ca. 1890 – ca. 1950, Congo). The exhibition makes unexpected connections between the various uses of abstraction in psychology, art and design.

During his current research on colonial psychology, Vincent Meessen was intrigued by the relation between the formal abstraction of certain cognitive tests and Western geometrical abstract art. By displaying a curated section of abstract paintings from the late 1920s by one of the two so-called first modern Congolese artists, the pioneer Tshyela Ntendu (aka Djilatendo), Meessen proposes a ‘constructivist scenario’ that problematizes the Western narrative of abstraction in regard to so-called primitive ornament.

The title, Patterns for (re)cognition, refers to the jargon of cognitive psychology and in particular to the tests designed to measure the capacity of our brain for abstraction and memory; mental operations that are based on recognition and identification of recurrent impulses (signs, sounds, forms, patterns, letters, faces …).

26.04.13 - 16.06.13

Kelly Schacht

Opening: Friday 27 September 2013 - 20:00

Exhibition
Kelly Schacht, 'It seems economical to make use of a character already in play', 2013.  Photo Tom Callemin.
Kelly Schacht, 'It seems economical to make use of a character already in play', 2013. Photo Tom Callemin.
Kelly Schacht, 'It seems economical to make use of a character already in play', 2013.  Photo Tom Callemin.
Kelly Schacht, 'It seems economical to make use of a character already in play', 2013. Photo Tom Callemin.
Kelly Schacht, 'It seems economical to make use of a character already in play', 2013.  Photo Tom Callemin.
Kelly Schacht, 'It seems economical to make use of a character already in play', 2013. Photo Tom Callemin.
Kelly Schacht, 'It seems economical to make use of a character already in play', 2013.  Photo Tom Callemin.
Kelly Schacht, 'It seems economical to make use of a character already in play', 2013. Photo Tom Callemin.
Kelly Schacht, 'It seems economical to make use of a character already in play', 2013.  Photo Tom Callemin.
Kelly Schacht, 'It seems economical to make use of a character already in play', 2013. Photo Tom Callemin.
Kelly Schacht, 'It seems economical to make use of a character already in play', 2013.  Photo Tom Callemin.
Kelly Schacht, 'It seems economical to make use of a character already in play', 2013. Photo Tom Callemin.
Kelly Schacht, 'It seems economical to make use of a character already in play', 2013.  Photo Laurent Fobe.
Kelly Schacht, 'It seems economical to make use of a character already in play', 2013. Photo Laurent Fobe.
Kelly Schacht, 'It seems economical to make use of a character already in play', 2013.  Photo Laurent Fobe.
Kelly Schacht, 'It seems economical to make use of a character already in play', 2013. Photo Laurent Fobe.
Kelly Schacht, 'It seems economical to make use of a character already in play', 2013.  Photo Laurent Fobe.
Kelly Schacht, 'It seems economical to make use of a character already in play', 2013. Photo Laurent Fobe.

It seems economical to make use of a character already in play

KIOSK presents an exhibition that combines work by Belgian artist Kelly Schacht and Swedish artist Annika Eriksson.
Kelly Schacht responds to the exhibition space and Annika Eriksson’s work. For the duration of her show It seems economical to make use of a character already in play the empty rooms will be activated by temporary interventions or ‘characters’ whose performative presence will resound in the human absence emphasized by Eriksson. This approach is based in the uncertain and in coincidence: an openness that is prerequisite for Schacht’s ongoing research into the perception and practice of exhibiting and the dynamic space in which it takes place. By way of theatrical constructions, Schacht stages a fragmented dialogue between space and matter, illusion and reality.

In ‘It seems economical to make use of a character already in play’ this approach results in a scenario, tailored to the exhibition space, that will unfold over the course of the seven weeks of the exhibition. Like a postscript, this minimal scenography will address what is hidden and appeal to the visitors’ imagination.

Both artists – each grounded in their respective generations – work with the same kind of ideas in presentations that rely on the staged and the imaginary, and on the factors of time, language, the viewer and social interaction. With their cinematographic constructions and minimal interventions they introduce the audience into a fragmented narrative dimension. Where Eriksson mainly directs the exhibition space through the use of film, Schacht manipulates it with the aid of objects and people. Both narrative styles make use of the reversal of time and language, giving their scenarios an aura both of recognition and of the indefinable, like blind spots or ambiguous vacuums in space and time.

Kelly Schacht received the 2011 Young Belgian Painters Award and has showed her work at the Gwangju Biennial (2012); De Vleeshal, Middelburg (2011); Hoet Bekaert Gallery, Ghent; Cultuurcentrum Strombeek, Grimbergen; Coupe de ville, Sint-Niklaas (2010); Netwerk – Centre for Contemporary Art (2008); and in Coming People in S.M.A.K, Ghent (2006), among others. She is represented by Meessen De Clercq, Brussels.