JAGNA CIUCHTA

 

Sans titre; installation, 2011
deconstructed plinth, cut-out photograph
dimensions variable

 

The Grey Room -detail; first stage of a performance, 2011

 

When you see me again it won’t be me. Again.; installation -partial view, 2011
enameled MDF elements from two deconstructed plinths
dimensions variable

 

When you see me again it won’t be me. Again.; installation -partial view, 2011
enameled MDF elements from two deconstructed plinths
dimensions variable

 

EVA, CAN I STAB BATS IN A CAVE? (palindrome), 2011

 

Exhibition view: Yellow Painting; sculpture, 2011
plaster cast, archive photograph from JC exhibition of paintings in 2001
(photo by Daniel Rumiancew), and a hole that goes through both
55 cm x 42 cm x 21 cm

//

Doesn’t Just Explode, It Erupts With Volcanic Force; painting, 2011
scotch tape; dimensions variable (proportions of the standard cinema screen)
Photo: Mariusz Jagniewski

 

Yellow Painting; sculpture, 2011
plaster cast, archive photograph from JC exhibition of paintings in 2001
(photo by Daniel Rumiancew), and a hole that goes through both
Photo: Mariusz Jagniewski
55 cm x 42 cm x 21 cm

 

Luck is a form; documentation of a performance -fragment, 2010
framed card
Photo: Cristhian Raimondi

 

Sans titre; archive photograph (18 cm x 24 cm), 2010
(photo by Samir Ramdani) from JC exhibition
‘When you see me again it won’t be me’, and plinth
Photo: Mariusz Jagniwski
75 cm x 24 cm x 36 cm

 

When you see me again it won’t be me; installation, 2010
3 enameled pedestals (53 cm x 67 cm x 123 cm, 67 cm x 53 cm x 123 cm and
123 cm x 53 cm x 67 cm), pile of plaster construction materials transformed
by time and rain, plants (110cm x 40cm x 65cm), slide shot by anonymous
travellers in the 1970s (dimensions variable), cut-out archive photos on
dibond (53 cm x 80 cm), view of JC exhibition Vanishing Point
Photo: Samir Ramdan

 

Actual Contacts (with France Valliccioni), 2010
video HD, colour and sound; 7’0″ (loop), edited by Samir Ramdani,
sound: Emmanuel Delpy

 

Sans titre; one of a series of 11 drawings, 2010
charcoal on xerox print of archive photo of JC performance in 2000
(photos by Hanna Luczak)
Photo: Mariusz Jagniewski
16 cm x 24 cm each

 

Sans titre (vanishing lines), 2005
400 white sticks (for the blind)
dimensions variable (here: 23 m x 190 cm x 2 m)

 

SOPHIE GIRAUX

 

SEVEN KILOS OBLIQUE, 2012
Charcoal powder
30 cm x 30 cm x 30 cm (oblique) – initial state

A sculpture that begins life as a perfectly formed parallelepiped; the passage of time then leads to its collapse, lending the work a whole new configuration.

 

SEVENTY SEVEN SECONDS; duo-projection, 2012
Two Manipulated Kodak carousel slide projectors on timers
Duration 1’17”
Dimensions variable

During the course of one cycle the projectors continuously search for their focal point, the two rectangles of white light independently shrinking and then enlarging, becoming slightly superimposed at their adjacent edge and for an instant gently achieving an identical size.

 

Untitled, 2012 – exhibition view
Homemade rust, water
Dimensions variable

 

Untitled, 2012 – exhibition view
Mirror, burnt and scratched on the backside
120 cm x 50 cm

A marred reflecting surface makes room for transparency.

 

As long as it lasts, 2011
Charcoal powder
Dimensions variable
Edition of 3

Two cubes comprising of densely compacted charcoal powder. One is perfectly formed, the other is partially collapsed due to the force of gravity acting on its weaker constitution once its formwork is removed. Without interference, both structures remain precisely intact.

 

Vérité(s) partielle(s), 2011
dia projector, motor, pvc, vinyl and wood
35 cm x 35 cm x 30 cm

A fluctuating rectangle of light projected via a motorised wheel attached to the projector, which revolves in front of the lens. The image appears to subtly split away from itself and become reabsorbed.

 

When light travels trough a lens, 2011
glass, painted wood, black ink, metal
87 cm x 70 cm x 35 cm

On the white base of the glass box is the black outline of a single circle; on top of the glass box is a glass lens. Looking onto the lens from above causes chromatic distortion – an optical phenomenon – by which the black line meets the circumference of the lens and therewith transforms into a circular rainbow comprised of the full colour spectrum.

 

Cube (expérimentation #1), 2010
plaster powder
dimensions variable

One cube comprising of densely compacted plaster powder, perfectly formed. Without interference, it remains precisely intact.

 

2,32 Go (une épaisseur de temps de 392 images superposées), 2010
ink-jet print of 392 superimposed images
50 cm x 50 cm
Edition of 5

392 overlaid, digitised, personally significant photographs. Superimposed in this way, these images have become unreadable, creating a black hole or a blindspot, serving to flatten layers of memory. Only the outline discloses a hint as to their subject matter.

 

L’espace d’une année en une minute, 2010
video projection (loop)
dimensions variable
edition of 3

A video projection depicting the 365 days of the year in the course of one minute, true to the authentic calendar, including days per month and accounting for leap-years, thus representing a sense of infinite time, accurately compressed.

 

Diffraction marginale, 2010
Retro projector, screen
Dimensions variable

The projector acts like a ready-made and reveals an optical phenomenon: marginal diffraction (or flare) due to parasitic light diffusion inside the focal mechanism.

 

Polaroid. White screening. (waiting for something to…), 2009
Video; 4′ loop
Dimensions variable

A photo produced by photographing light; an abstracted image achieved by filming the instant process of the polaroid that reveals that image.

 

Plâtre #2 (hexagones), 2008
Plaster forms
dimensions variable

The existing hexagonal floor tiles have been reproduced as thin plaster wafers and positioned on the floor surface. The more public who visit the space, the shorter-lived the work.

 

JUAN FONTANIVE

 

New Lines; installation, 2011
paper. aluminum, polycarbonate, rubber cord, steel wire, electronics
181 cm x 121 cm x 7 cm (variable)

 

The Shapes Arise; installation -detail, 2009
latex paint on rubber cord, ink on aluminum, electronics
243 cm x 213 cm x 8 cm

 

Violetear, 2011
acrylic on paper, stainless steel, polyoxy-methylene (thermoplastic),
aluminum, motor and electronics
10 cm x 10 cm x 12,7 cm

 

Roses; installation, 2009
steel wire, aluminium, styrene, teflon, Arduino chip, electronics
152 cm x 89 cm x 60 cm

 

Movement 1; installation -detail, 2008
paper, steel wire, nylon, brass, rubber cord and electronics
243 cm x 213 cm x 121 cm (variable)

 

The Lake; installation -detail, 2006
oil on watercolour paper, clock parts, brass, steel, wire, motor
10 cm x 61 cm x 121 cm

 

VADIM VOSTERS

 

Production; installation, 2011
photo: Dirk Pauwels

 

G 58; Installation, 2009
40 Slide projectors

 

Brainbox; Installation, 2009
Slide projectors, Objects, Glass

 

Zwart Huis; Installation, 2009
Video, Paintings, Light installation
Photography, Glass

 

Untitled; Installation, 2008
Slide projectors, Mixed Media, Paintings, Glass

 

Untitled; Installation, 2008
Slide projectors, Mixed Media, Paintings, Glass

 

Cuesta; Performance, Video-Installation, 2008
Video x3, Synchrobox

 

Hollow; Performance, Installation, 2007
Slide projectors, Mixed Media

 

Campo Santo; Performance, Installation, 2005
Slide projectors, Painting, Sound installation

 

STIAN ÅDLANDSVIK

 

TAKE THESE HANDS, 2012
Collage developed from photographs belonging to the National Spinal Injuries
Centre archive at Stoke Mandeville hospital, UK

 

IN BETWEEN, 2011
CROWN CONTROL BARRIER, COPPER ROD, ACIDIC SOLUTION, CABLES, THERMOMETER
DIMENSIONS VARIABLE

The cylinders contain copper rod and an acidic solution, functioning as batteries; wires connect them to one another, thus generating enough energy to run a thermometer that registers the temperature of the space, which is displayed on a small digital element atop one of the cylinders.

 

Convergence
photocopier, A3 photocopies
80 cm x 50 cm x 40 cm

The process involved in assuring product functionality is to certify and document all mechanical parts. In this sculpture, that idea has been turned upside down. Consisting of the remains of a photocopier – the result of a transformation whereby the panels and components were taken apart piece-by-piece and then photocopied on the machine, the procedure continued until the machine could no longer make copies. In this way, the machine documented its own decay, while at the same time exposing its own components.

 

Sufficient accounts, 2010
Filing cabinet, air compressor
Dimensions variable

A filing cabinet is welded at the seams to render it airtight; through the influence of an air compressor, it expands into a plump, uneven shape. Although the intervening action has terminated, the evidence remains.

 

Suspected Unapproved Parts, 2010
Steel, wood
129 cm x 30 cm x 30 cm

A showcase contains a bent metal bolt and a similarly bent and cracked casing. The rough surface tells us that these items are not industrially made: they are three-dimensional printed copies of two aircraft components which were the direct cause of a plane crash, precisely because they were copies. The aircraft industry has a serious problem in that replacement parts and their certificates can be well camouflaged fakes that are almost impossible to discover. Substandard parts are used in good faith with catastrophic consequences, while those that produce them cheaply earn a good profit. The destruction of the aircraft gave these parts their unique form and turned them into individual originals. In order to copy them, digital, 3D models were made, based on photographs.

 

Desire AS, 2010
Steel anti-riot fence
220 cm x 152 cm x 184 cm

 

Metal Cloud #1, 2010
C-print on aluminum
70 cm x 94 cm
series of 5

A standard 1m x 2m aluminium plate has been crumpled into a modernistic cloud shape. Before straightening it out again and rolling it flat, its shape was documented. After this, the plate was crumpled into a new shape and the process repeated. After 5 times, the plate had acquired several holes and massive signs of material wear. Subsequently, the flattened plate was made into another work called Hell is Chrome, seen immediately here below.

 

Hell is Chrome
Aluminium plate, chrome
50 cm x 50 cm
series of 8

A standard 1m x 2m aluminium plate has been crumpled into a modernistic cloud shape, rolled flat, and the process repeated. After 5 times, the plate had acquired several holes and massive signs of material wear. It was then cut into 8 pieces and, in an attempt to cover up some of the traces of damage while also giving the aluminium a new surface, the 8 pieces were chrome-finished.

 

Laissez-faire unit # 1, 2009
Baggage cart, casted aluminium coin
approx 71 cm x 76 cm x 110 cm

An airport baggage trolley, where small parts have been cut out at random locations, eventually turning it into a collapsed, unusable object. From the small parts that had been cutout, a 20 kroner coin was cast, in order to pay for the trolley.

 

Laissez-faire unit #2, 2009
mdf, acrylic glass, wood
200 x 146 x 10 cm

A copy of an airport information sign in which the essential information, and as both a consequence and the reason for its existence, has been taken out: the screens that are supposed to indicate when the various airplanes are to depart or arrive. The only remnants are the electrical cords left inside the structure.

 

Space Velocity
Fischer Space Pen on paper, 2009
34 cm x 27 cm

 

Transmission from 1915 (Suprematist composition expressing the
Feeling of wireless telegraphy), 2008
found cable reel, C-print
dimensions variable

A wooden cable reel was collected from a construction site, dismantled, and pieces cutout as necessary to remake the Malevich illustration called ‘Suprematist composition expressing the feeling of wireless telegraphy’. The pieces were carefully composed on a 6 metre high wall, and then photographed. The pieces were then reassembled into their original form, thus marking this particular cable reel with the traces of an escapade in art.

 

Fence Flieger, 2008
Standard industry protection fence
270 cm x 520 cm x 55 cm

Otto Lilienthal, a pioneer of the development of gliders in the second half of the 19th century once said: “To invent an airplane is nothing. To build one is something. But to fly one is everything.” This statement sums up man’s age-old, eternal desire to be a master of the skies, and our desire today to undertake increasingly long and luxurious journeys in aircraft of ever increasing dimensions.

Otto Lilienthal’s simple and poetic dream of being able to glide alone over the countryside is captured in a skeleton of his glider’s wing construction, made of steel from a security fence erected to keep ordinary, inquisitive people out of his high tech production plant.

 

The Engine, 2008
Angle grinder, mdf, wood, acrylic glass
92 cm x 171 cm x 76,5 cm

After having been used for cutting-up a steel fence to make another artwork, the angle grinder was used to cut open a showcase; thereafter the machine was dismantled, with the various parts tidily organised and displayed in that very showcase.

 

Illuminated Transition, 2008
Found fabrics from construction sites in China
dimensions variable
Series of 4

In Beijing, leftover fabrics from the many construction sites in the city were collected, to thereby make traditional Chinese lanterns of them; a hybrid crafted from the remains of the rapidly changing society, reflects upon the new expressions the Chinese might find in its melting pot.

 

Visions of transit from two pasts, 2008
Fischer Space Pen on world map from 1920
93 cm x 139 cm

 

Suddenly Clear Sighted, 2006
1979 Volvo 244DL
Dimensions variable

A 1979 model Volvo 244DL from which all external lights have been removed and their cables lengthened. The lights were then gathered together to form one big luminaire that lights the car from the outside when the engine is running.

 

Historical detour (consequences of a slip of the tongue awarding Denmark
the North Sea), 2006
Wood from mountain shed, aluminum, C-print
Dimensions variable

A part of the façade of an old Norwegian mountain shed has been removed and the panels used to create a new, fictional, standard Euro pallet.

NICK DEFOUR

 

KRISIS – PARFOIS JE CRACHE SUR MES PROPRES PIEDS, 2013
PERFORMANCE

 

Gibt es Männer in der Schweiz?, 2013
COLLAGE

 

ECHOLALIE, 2013
Exhibition – Performance

In the back space there is a small towel with a greek motif. On it lay a fish with a rope bound around its tail. On the staircase hangs Nick’s homemade ‘patat nimmer weinen’ jacket with his poetry album ‘Poëzie Poes Pose’ in the pocket. For the performance he makes four rounds in the gallery while dragging the fish on the rope behind him and then afterwards putting it back on the towel, putting on the jacket, going to a painting and reciting one of his poems to the painting. This is repeated four more times with the fish, each time with him putting on the jacket and reciting a poem, taking off the jacket again and dragging the fish, until the fish and the rope get stuck on something in the gallery, at which point he takes the towel, places it underneath the current position of the fish, and stops.
 

NICK DEFOUR HOUDT HET NOG STEEDS VOL, 2012
Performance for video

 

NICK DEFOUR HOUDT HET NOG STEEDS VOL, 2012
Video performance

 

NICK DEFOUR HOUDT HET NOG STEEDS VOL, 2012
Collage on paper
60 cm x 49 cm

 

Hinter den bergen, das tal; performance (Austria), 2012

Picking up a previously positioned cobblestone from the gallery floor and starting off on a sojourn into the street while repeatedly chanting HINTER DEN BERGEN, DAS TAL, the people follow on behind him. Once in the street, Nick throws a large paper aeroplane into the air and begins to recite a Flemish poem he composed, while performing various actions in the street, including crashing the stone at a key moment. The performance concludes with Nick walking off into the distance and disappearing into the night.
OH NEEEE! / WEER OOSTENRIJK? / DAT WIST IK WANNEER IK BEGON / TOEN IK DEZE PUT GRAAFDE / EN DEZE BERG OPWIERP / WANT! / ACHTER DE BERGEN / IS ER HET DAL, DEZE PUT / WAAR WE ALLEN UIT VALLEN / EN IN KLIMMEN / IN UIT UIT IN / WELK LAND? WELK LAND? / SPIJTIG! / WEER OOSTENRIJK! / WAT VERWACHT IK DAN OOK? / MET EEN HARDE BLIK / EEN STEEN ALS VLUCHT / WE MOETEN UIT DEZE PUT / UIT IN IN UIT / IK VOLG JE / IK VOLG JE ACHTER DE BERG / IK VOLG JE TOT IN DE PUT / IK VOLG JE / MAAR VERGEET NIET! WE MOETEN DAT DOEN WAT ONS TE DOEN STAAT…
 

ECHO, 2012
Collage on paper
60 cm x 49 cm

 

IT’S SO EASY TO BE A POET AND SO HARD TO BE A MAN, 2011
Performance installation

Placed against the wall is a monitor, on top of which is a metronome, a lump of charcoal and a block of marble. The performance begins when Nick approaches the monitor and starts-up a video. He straddles the monitor and faces the wall. He is to be seen on the video reciting by heart from a text that is split into syllables; the video is in three parts. During the first part, Nick quotes a sentence from “L’Etranger” by Albert Camus. To the rhythm of the text he draws large circles on the wall with the lump of charcoal, each new circle drawn on top of the one before. Thereafter is an equally long section of video with no image on the screen, at which point he stares at the thick circle. When the second part of the video begins, he recites part of a poem by Charles Bukowski while striking the wall in the centre of the circle with the block of marble, to the beat of the text. After this there is again no image on the screen until the third part of the video starts up, when he once again recites a piece out of “L’Etranger”. Meanwhile, Nick looks at the hole that he had banged in the wall. After the third part of the video he steps away from the monitor and starts-up the metronome. The looped video, the ticking metronome, the hole in the wall, the circle, the charcoal and the block of marble remain in place afterwards, as an installation.
 

LET ME SEE WHAT YOU’VE GOT, WHAT YOU’RE MADE OF, WHAT YOU’RE NOT, 2011
Work on paper
21,50 cm x 31 cm

A framed sheet of paper contains a blurry photo of Nick having just been smacked in the face. Underneath the image the following poem is written in pencil:
“t’es où? t’es où? gardien de mon espoir | je t’ai perdu, vendu car j’avais peur | mais il me reste encore plein de choses | A FAIRE avant que je meurs
 

FERTIG? NICHT AUF DAS FALSHE PFERD SETZEN!, 2011
Work on paper
27,5 cm x 21,5 cm

A framed sheet of paper with pencilled text and cutout drawings of chess horses.
 

IT’S NOT MADE FOR GREAT MEN, 2011
Performance
photo © Tine Declerck

 

ALLEEN GOD WEET OF DE DICHTER NU DRINKT OF NIET, 2011
Performance

This performance was specifically made to be performed at a café on a certain date and at a precise hour. It was announced by way of 100 flyers signed by the artist that were distributed in Brussels.

Nick steps onto a bench and his counterpart steps onto a table. Nick loudly declaims: “ALLEEN GOD WEET OF DE DICHTER NU DRINKT OF NIET”. Thereafter he hands his counterpart a paper with his own poem handwritten on it. He reads it aloud while Nick looks directly at him. Afterwards he gives the paper back to Nick and both men step down from their respective stages.
 

ALLES WAS GESCHIEHT GESCHIEHT HEUTE, 2011
Performance installation

The performance consists of the following elements: a poster, a clock (without hands but still ticking), and some cardboard boxes that formerly contained wine. The poster and the clock are attached to the wall. Nick stands in front of these, on top of the empty cardboard boxes. As Nick fetches a cardboard box and stands on it until it crushes, he repeats the text “ALLES WAS GESCHIEHT, GESCHIEHT HEUTE”. After the performance, the poster, clock and cardboard boxes remain in place as an installation.
 

PATAT, NIMMER WEINEN, 2011
Performance

Initially intended as a ‘constant performance’, Nick began wearing a jacket bearing the inscription PATAT, NIMMER WEINEN. This work received its definitive form during a visit to the Army Museum’s anniversary celebration in Brussels.
 

YOU GET SO ALONE AT TIMES THAT IT JUST MAKES SENSE, 2010
Performance installation

Nick stands on a strip of carpet with a block of marble in his hands. Placed in front of him is a monitor on which the video MEST AM TRISTE is playing. Next to him hangs a poster of FORELMAN. The performance begins when Nick picks up the block of marble from the carpet and recites the text “nog altijd Nick Defour hier” in different rhythms and at different volumes. When the video begins he lets the block of marble fall to the ground. In the video, Nick is seen pronouncing the text KUNST WET GEBEUREN AM FREUDE EN AM TRISTE, MEST AM TRISTE. When the video ends he picks up the block of marble and begins the performance anew.
 

Serieus, 2010
Performance

Nick sits on top of a monitor on which he appears seated at a table, looking around, until he (this on-screen version of himself) finally looks up and asks “Ja maar, ben je serieus?” The live version of himself answers that question with “Ja, ik ben serieus.” The live Nick then stands up and leaves the room.
 

Mein Welt Schmerz T, 2010
Performance

A vest onto which MEIN WELT SCHMERZ is handwritten in marker pen, hangs on a nail in a corner. Nick approaches the corner, takes off his shirt, lifts the vest off the nail and puts it on. Next, he takes a cigarette out of his pocket, lights it and smokes it while looking straight ahead. When the cigarette is finished, he crushes it underfoot, takes off the vest and puts the shirt back on. He repeats this activity a multitude of times, with a short pause in-between of the same length of time as it took to smoke the cigarette. A heap of cigarette butts forms on the floor and is then left behind.
 

Decades, 2010
Performance installation

A loudspeaker lays on its side on the floor. A hole has been made in the top of it and a page from “The Idiot” by Fyodor Dostoyevski, is fixed to its side. The scene is spotlit by a lamp on a tall tripod fixture. Nick goes up to the loudspeaker, kneels down, sticks his head completely inside it and recites the text from ‘Decades’ by Joy Division. He then takes his head out of the loudspeaker and steps away.
 

De koning is dood, leve de koning, 2010
Performance

 

de Waker, 2010
Performance

Nick stands on a tall ladder striking a watchman’s pose.
 

Bart in Orval, 2010
Performance

During an entire weekend, Nick played the character of ‘Bart’ in the town of Orval, Belgium (home of a Trappist brewery).
 

Hand-rolled and oven-baked balls of clay (circa 0.5cm in diameter) that Nick freely distributes at will.
 

SIET RAEYMAEKERS

 

Performance by Everyone for Everyone, 2012

An anonymous happening in Brussels. Two weeks before the event Siet asked various people to write her a performance score with a time frame of max 3 minutes and a spatial frame of 4 square metres. There were two rules only: she would mind these parameters and only use her own body. She did not look at these scores until the moment of the performance. At that point, she started following the descriptive or abstract instructions. Due to an interruption by the police she wasn’t able to perform all the scores, but the police then inadvertently featured in the grand finale. Time and space were (politically) destabilised for a moment as they became part of the scene. Precariousness prevailed.

 

Performance by Everyone for Everyone, 2012

An anonymous happening in Brussels. Two weeks before the event Siet asked various people to write her a performance score with a time frame of max 3 minutes and a spatial frame of 4 square metres. There were two rules only: she would mind these parameters and only use her own body. She did not look at these scores until the moment of the performance. At that point, she started following the descriptive or abstract instructions. Due to an interruption by the police she wasn’t able to perform all the scores, but the police then inadvertently featured in the grand finale. Time and space were (politically) destabilised for a moment as they became part of the scene. Precariousness prevailed.

 

Nature Morte à la Madame May; performance, 2011
Photo: Bart Grietens

Siet moves through the various physical stages that occur after death – from palor mortis to putrefaction. The stage is bare with only the projection of a rubbish tip on the back wall. Siet takes her position in front of the screen and becomes part of the scenery as she performs as the flesh and bones of Madame May, once a femme fatale, now just leftover chicken…

 

Nature Morte à la Madame May; performance, 2011
Photo: Bart Grietens

Siet moves through the various physical stages that occur after death – from palor mortis to putrefaction. The stage is bare with only the projection of a rubbish tip on the back wall. Siet takes her position in front of the screen and becomes part of the scenery as she performs as the flesh and bones of Madame May, once a femme fatale, now just leftover chicken…

 

CIRCLES; video, 2011

 

Meet Madam May; performance, 2010
photo: Hylke Gryseels

 

Meet Madam May; performance, 2010
photo: Hylke Gryseels

 

JACOB WREN

 

REVENGE FANTASIES OF THE POLITICALLY DISPOSSESSED; PUBLISHED BY PEDLAR, 2010

 

An Anthology of Optimism; performance presentation, 2009-2010

 

Unrehearsed Beauty; published by The Coach House Press, 1998

 

TIM DE KEERSMAECKER

 

No Man is an Island; film still, 2015

 
 

MakeMake by Medusa; music video imagery, 2011

 
 

Aperture; film still, 2010

 
 

Aperture; film still, 2010