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

Met de tentoonstelling Family Nexus gaan beeldend kunstenaar Sophie Nys en KIOSK voor de tweede keer een samenwerking aan. Nys werd eerder al uitgenodigd in 2008, toen KIOSK nog in het buitenpaviljoen gevestigd was. Voor die gelegenheid kocht de kunstenaar een metalen tijdscapsule, stak de geschiedenis van de tentoonstellingsruimte erin en stopte deze onder de grond. De capsule ligt er nog steeds, onzichtbaar, maar tegelijkertijd ook permanent en onmiskenbaar als ingreep. Als een voorbeeld ook, van de manier waarop Nys vanuit de specifieke geschiedenis en architectuur van een plek werkt. Dit is andermaal het geval voor haar komende tentoonstelling in KIOSK waarbij ze enkele minimale en monumentale ingrepen, unieke en seriële objecten, persoonlijke kennissen en obscure figuren uit 16de-eeuws drukwerk, rurale landschappen dicht bij huis en stedelijke monumenten onder één en dezelfde noemer tracht te verenigen.

Nys maakt ons alvast warm voor haar tentoonstelling in KIOSK met de titel Family Nexus, een aankondigend beeld van een aan de knie klevende kauwgom en een uitnodigingskaart die ze voor de gelegenheid omvormt tot een boekje. De kaart in boekvorm vertelt het moraliserende verhaal van vier mensen, genaamd Everybody, Somebody, Anybody en Nobody.

Met deze persoonlijke gebaren leidt de kunstenaar ons in in de aan elkaar verwante werken die ze naar aanleiding van deze tentoonstelling heeft samengebracht. Eenmaal we KIOSK zelf betreden, lopen we in een door haar opgezet web van (on)samenhangende intriges, waarbij geen enkele positie neutraal is. Nys is geïnteresseerd in de relaties die tussen haar werken onderling, maar ook ten opzichte van de ruimte en de bezoeker ontstaan en trekt de parallel met een praxis of een huishouden waarin een set van onuitgesproken regels en rollen de dynamiek bepaalt. De titel van de tentoonstelling, Family Nexus, staat in de psychologie voor een gemeenschappelijke visie die door de meerderheid van de familieleden, vaak onbewust en generaties lang, wordt vastgehouden met betrekking tot de gebeurtenissen in het gezin en in relatie tot de wereld.

Wie vervult hier de rol van Niemand, de zogenaamde ‘identified patient’ of zondebok van het huishouden, en welke potten en pannen heeft deze gebroken? Hoewel alle personages tot dezelfde familie, de Family Nexus, behoren, wijzen ze elkaar allemaal met de vinger. De ene is meer iemand dan niemand, meer of minder uniek, afhankelijk, of laat meer of minder afdrukken na als de andere. De met de hand gemaakte kleinste van het gezelschap ondersteunt het grootste, industrieel vervaardigde element. De rest probeert ergens tussenin dit karikaturale contrast post te vatten.

Door bestaande meubelontwerpen of industriële objecten aan te passen aan een nieuwe context en schaal, worden ze uitdrukkingen van een persoonlijke gedachte, personages in Nys’ eigen verhaal. Dit spel van beschouwen, herkauwen en ontdubbelen is eigen aan het oeuvre van Nys en net zoals iedere familie vertoont ook deze verzameling van verwante werken na verloop van tijd een (on)bewuste nexus. Deze daaruit volgende opstelling is haar (zelf)kritische, maar ook humoristische manier om iets te vertellen over haar eigen kunstenaarspraktijk, maar ook over institutionele mechanismen, ons menszijn en de relaties die we met elkaar aangaan.

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.”

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.

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.

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.

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.

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.

(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.

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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.