A drawing, being run by various players, obscured by a black dot.
Livestream Live stream: 25 November 2017 – 19 January 2018
Since 4 years now, Jeroen Jongeleen extended his art practice with running distances and traces. Tricked by the shortcuts he photographed in parks, he decided to construct his own paths by running for hours and hours along with his own drawn trails. After wearing out the grass of city parks, drone-documentation finds its way to the public.
For Rib247, Jongeleen shows a 4-track drawing (two straight lines crossing 2 circular paths), which is partly obscured by a black circle, blocking our view on the part where it seems to matter the most – its crossing points, but at the same time reflecting the stained glass gallery-window.
Various players run their shadows along the screen in the layer below the dot.
Tête à tête (2017)
Livestream: 8 October – 19 November 2017
Clementine will work daily in front of the camera at Rib, 10:00–12:00 CEST. During this time she will talk around the idea of plural subjectivities and trauma. Using the real-time video documentation as a poignant extension of real-life habits, Clementine will also address routine, alienation and solitude. At the end of each days’ live session, she will install any work she’s produced within the work-space at the gallery.
Tête à tête was conceived of as an investigation into communication and routine in the face of trauma. Communication is a mode of visibility, and routine is a way of evoking stability where trauma denies that stability. But the project has evolved. Instead of having a banal conversation with trauma, as she originally envisaged, Clementine will look at how to story-make through trauma, and how to evoke intimacy via the disembodied.
Clementine plans on drinking a thermos of coffee daily to stimulate frantic work activity, but she will not work on Fridays or Saturdays, when the gallery is open.
Clementine Edwards is an artist and editor from Australia. She is currently at the Dutch Art Institute and lives in the Netherlands. www.clementineedwards.com
The Architect and The Housewife
Livestream: 15 August – 3 October 2017
I wake up and run, I shower, I make breakfast and test a batch of cookies while eating oats, I drop pieces of coconut milk caramel in the dough, it’s a mess, I send a picture of the cookies next to my hand to the client, the caramel is a failure, I drink coffee and check Instagram, check emails, check Facebook, I write back standing up and scrolling and turning from one side of the kitchen to the other, I walk to the other room and cut up big pieces of heavy fabric, I take the gun, I put on soft music and contemplate carefulness of coordination, I lean the gun onto the stiff fabric, I push it once, twice and hard to attach two rags, I turn the gun around, I reload, I push the gun heavy onto the fabric, I push with my whole body, twice, turn around, reload, push, turn around, reload, I get up and walk from one room to the other, I go back and take the gun and push, turn around, reload, I push, turn around and reload, leaving now and then for distraction, I keep the fabric spaciously aligned, I don’t care, I cut of what sticks out, I eat the cookies, I give up on coconut milk caramel, I push, turn around and reload, push turn around reload, push turn around reload, I put the gun on the floor, the cushion is deflated, a useless pocket or drained chair, I take a stick and make it stand up.
Frances Stark wrote ‘The Architect and The Housewife’ (London: Book Works, 1999) as a sequence of interrelated texts dealing with, among other topics, production at home versus reproduction in the public sphere. The proposition of the housewife and the architect describes the tension of private production, which occurs without a trace of productivity, and autonomous exterior production, which disrupts and transforms material reality.
Maike Hemmers is a German artist, living and working in Rotterdam. Her current research includes the conception of ordinary and imagined spaces and a resistance in space through the pursuit of nothing.
gerlach en koop
Dissolved in Water (2017)
a circulation in six weeks
Livestream: 15 June – 1 August 2017
Collective artist gerlach en koop works in twofold to invite a third. They live and work in The Hague and Brussels. Solo exhibitions include Bonnefantenmuseum, Maastricht (NL); de Appel, Amsterdam (NL); Temporary Gallery, Cologne (DE); Altefabrik, Rapperswil-Jona (CH); 1646, Den Haag (NL); Kröller-Müller Museum, Otterlo (NL); Van Abbemuseum, Eindhoven (NL); Stroom, Den Haag (NL). Their work has been part of group exhibitions at the Project Arts Centre, Dublin (IE); La Criée, Rennes (FR); FIAC, Jardin des Tuileries, Paris (FR); Mu.ZEE, Oostende (BE); de Vleeshal, Middelburg (NL); Netwerk, Aalst (BE); Le Grand Café, Saint-Nazaire (FR); Stroom, Den Haag (NL); S.M.A.K, Gent (BE); the Baltic Triennial at CAC Vilnius (LT); and Bunkier Sztuki, Kraków (PL).
Rib247 is the name of the new Rib antechamber which will be launched in June 2017. The antechamber is a real space which has a virtual existence and can only be experienced online. It includes an additional line of programming at Rib within its current productive infrastructure. Artists will be asked to work with the camera and the antechamber to give body to an otherwise unproductive time when the gallery as a physical space is closed.
Supported by Centrum Beeldende Kunst (CBK) Rotterdam.