Thinking about the future of Rib while developing a new chapter in its history, we thought about Rib’s end too, its finality. We cannot hide the fact that as we go on with our business, feelings of futility loom, in a world whose ending and ends have almost fully overlapped. We thought about the relation between this double meaning of the word end: the possibility of ending and the question of to what purpose one must endure?
Can Rib as an ‘institution’ be a means without end; a reflexive and self-conscious process; an apocalyptic space: a space of revelation?
Far from a thematic show, The Last Terminal, is an adventure of reflexivity, rethinking the social function of an exhibition, not only what we see but also how we see it.
We begin with an initial parameter, Le vent des amoureux (Baade Sabaa, 1978), a film by the late French director Albert Lamorisse (1922–1970) and his uneasy relation with his client the Shah of Iran. We will go beyond the conventional practicalities of exhibition making which always involve a kind of pacification and bracketing of spaces and frames (fill the holes, paint the walls, remove trash, hide the cables, the finances and reports, relations between all participants, changing neighborhood, the outlook of the art world) and work with the sustaining but nevertheless necessarily always problematic infrastructure of the space and the program itself.
In 1968, Lamorisse was asked by the Iranian Ministry of Arts and Culture to make a documentary about Iran—Le vent des amoureux as part of the Shah’s propaganda campaign. The film is an aerial epic, mainly told through the voice of the wind that skims over the rural desert regions of Iran. However, the Shah disapproved of the result and asked for additional footage that would show the developing industries, laboratories and factories, including an important milestone—the Amir Kabir Dam constructed between 1957–1961 by the US firm Morrison Knudsen Co.
In 1970, Le vent des amoureux’ ending was literally cut with the death of its author. While recording aerial footage over the Amir Kabir Dam in Iran his helicopter became entangled with suspended wires and crashed leading to his and his crew’s death. The camera was later recovered from the bottom of the river and the film was edited according to his written instructions by his wife, Jean Claude Duparc, who often acted as the script girl and assistant director in his films, his son Pascal and the remaining crew who completed the film eight years later with a postscript. The film was nominated for an Oscar in 1978.
This extra footage resulted in a post script of 7 minutes long, which in a sense represents Lamorisse’s unwillingness to make propaganda for the ruler compromising his artistic integrity. In the new film the steady gliding aerial shots of Le vent des amoureux have been replaced by a nervous and pronounced edit. The visual material has been edited in an accelerated manner and the accompanying music is tense. Laboratories and factories seem full of threat, the machines without souls and human figures appear like zombies. The result is a disturbing portrait of the Shah’s coveted modernization. It is in a sense a harbinger of the revolution to follow in 1979.
In the first chapter of this program artist Mathew Kneebone has created a work that electrically connects to Rib’s infrastructure. His intervention will—in real-time—trigger blackouts in the building when they occur in his state of California. Rib and our operations including other works on display depend on electricity to function. Will the show end without it? Will it be incomplete? Will we need to burn wood and light candles during winter days? What will a blackout generate? It may induce liminality at Rib forcing us to redefine how we operate and interact.
The imminent ending of the operational status quo at Rib instigated by Kneebone is a transcription of how Lamorisse’s film was cut short as a direct result of the divergent expectations between artist and client leading to the helicopter crash which finally made the camera stop recording.
Artist and architect Olivier Goethals has developed the first stage of a scenography consisting of functional elements and display options as empty signifiers and placeholders for other works which may yet find their place in the program.
These two works which are a response to the space and our initial gesture (Le vent des amoureux) will be introduced at the level of and affecting Rib’s infrastructural conditions and throw it into a mist of uncertainty, anxiety and potentialities inviting and making visible this already existing condition in our field and in the world.
Exhibition opening: 26.11.2021, 18:00–21:00
Performance by the Rib Staff Band starts at 19:00
With works by Shahin Afrassiabi, Marije de Wit, and Eléonore Pano-Zavaroni inviting Romain Bobichon, Fabrice Croux, Danaé Jérome, Ash Kilmartin, Akim Pasquet, Jérôme Tillié, and Maziar Afrassiabi.
In the last few weeks, we experienced Mathew Kneebone’s work, Power Relations, which together with Olivier Goethals’ scenography, introduced the program as a liminal space. Kneebone’s news headlines followed more or less daily and will continue for the unforeseeable future. Premonitions of a coming, significantly catastrophic event in California and isolated from their local news context. With their dream logic language, they are poetic anticipations of what is yet to happen: Rib will imminently switch off. Connection between two places is established through disconnection.
Being connected to all counties in California, we had two blackouts occurring in the space last month, due to storms, floods, and mismanagement, that forced us to wear warm clothes and to charge our batteries before we entered Rib; to light candles that coincidentally helped us mourn the dead. Neighbors complained that they can’t sleep because of the bright lights in the space reaching their bedrooms, because when the power returned we were not there to switch the lights off. During the blackouts works on display were turned off and the black screen of the monitors displayed the reflection of a wanting visitor, instead of the source material: the films of Albert Lamorisse.
Head of a young man
In a recent conversation with Shahin Afrassiabi he talked about his fascination with the distinction between the allegorical method of interpretation versus the literal one originally related to the hermeneutics of the bible and had speculated about the way this distinction relates to his own painting and sculpture.
In his paintings, the same figures, such as circles, spheres, vertical lines, reappear in different constellations each time depicting different real-world things. The repetition of these forms is a constant reminder of the paintings' hard reality as object and surface yet they also seduce one into an emotional flirt with invented spaces and objects. Mountains, faces, flowers, dark moods, colors, surface textures, degrees of depth, and shadows are weirdly both present and absent; the surface and the image equally inhabit the work complicating hierarchical distinctions between subject and object. The plaster head sculptures are also all variations of a certain inarticulate head. Inarticulate in so far as they approximate a head but never quite fully concretize its specifics.
This Means That Much
Marije de Wit speculates in her work what an image or a sculpture can be today in terms of its autonomy, functionality, or decorativity. Traditional understandings and categories, that enable her to not only look at the fundamentals of sculpture and image less statically but also to question the self-evidence of our surrounding world in how we come to define and value things. The dominance of quantification and objectification in art and life underlies her motivation to reclaim space for subjectivity and ambiguity. For things to have the right to exist and to have validity prior to their explanation. In recent years she has been exploring the relationship between art and critique in creative writing, art writing, and criticism by poets, artists, critics, and other thinkers.
For The Last Terminal, she has made a site-specific work that as she put it, ‘calls for the safeguarding of the inexplicable’, a light work that is also subject to the whims of Mathew Kneebone’s intervention Power Relations titled: This Means That Much. She also has compiled a carefully selected number of paragraphs from her collection of readings, into a reader that reacts to the ideas that have gone into the program as a whole.
Eléonore Pano-Zavaroni presents a work, that is an enhanced version of her Afspraak piece from 2019 at Rib, still a collaborative tool, yet only targeting those who express their full commitment to its cause as if their life depended on it. The general public is then a witness to these intense exchanges until they decide to leave the realm of spectatorship and come closer. Afspraak Future: About some magical virtues, includes contributions by seven artists that Zavaroni hand-picked and invited, whose contributions she describes as ‘things-of-unstable-status’, for which she has made a foldable/ unfoldable placeholder she calls the flying carpet, referring to a scene from the movie The Lover’s Wind from the French film director Albert Lamorisse. In this scene, Lamorisse’s unseen helicopter personifying the lover’s wind blows and scatters Persian carpets on a hill that are laid out by locals to be washed and dried.
The artists invited by Pano-Zavaroni are Romain Bobichon, Fabrice Croux, Danaé Jérome, Ash Kilmartin, Akim Pasquet, Jérôme Tillié and Maziar Afrassiabi.
Exhibition opening: 05.02.2022, 18:30–22:00
Performance by Susannah Wood starts at 19:30
Live broadcast from San Francisco streamed on Ever Widening Circles by Ash Kilmartin via Radio Worm
With new works by Shahin Afrassiabi, Mathew Kneebone, Kianoosh Motallebi, Eléonore Pano-Zavaroni, Marije de Wit, and Susannah Wood.
Following the introduction of The Last Terminal: Reflections on the Coming Apocalypse in September and Part 1: Survival of the Fittest: the big toe of little big man in November last year, we continue our journey with Part 2: Natural Selection in February 2022. Coinciding with the lockdown, several long blackouts befell us during the holiday, perhaps signaling this year’s cadence. In the program, we gradually add new works and replace some of the existing ones building a narrative that evolves whilst we are rethinking our pathways and future.
From a Marvellous Faucet
In Part 2: Natural Selection, we introduce a new work by artist Kianoosh Motallebi titled From a Marvellous Faucet. This work is an outcome of our conversations about the current state of one of the protagonists in the program: Lamorisse’s crashed helicopter at the Amir Kabir dam in Karaj.
There is now a rickety helicopter suspended over the lake. It is allegedly, at the very spot Lamorisse’s helicopter got entangled into electrical cables and fell into the lake. There are two versions of the origins of this wrecked helicopter. In one account, the helicopter is the actual one that was salvaged from the bottom of the lake, and in the other, it is a mock-up. This somewhat odd dangling memento mori got us thinking in terms of monuments and accidents, liquids and collisions, finality and continuity. We got interested in accidents or collisions as moulds. Like when a car collides into an object and its metal deforms in accordance with the shape and qualities of the thing it has collided into. Whenever we see a wreckage, of any sort, we are drawn to its details, how the bends and kinks may have been formed. There is so much more detail in a wreck than in its original. We find ourselves absorbed in looking at it whilst imagining it reconstructed. It is a thinking process reminiscent of how we conceive sculpture as a practice.
Motallebi takes this phenomenon as the basis of a new sculptural work, embedding a lamp into paraffin which gradually melts it. This liquified paraffin is then pumped out of the solid object, appearing as a paraffin fountain elsewhere then landing into a hot bath. At the margins, the paraffin solidifies and gets once again integrated into the object. This process continues for at least a year, perhaps producing electrical charge and short circuits due to its attraction of environmental dust, threatening to compromise Kneebone’s work which itself throws the program into an operational uncertainty.
The Story of a Disaster Foretold
We ring in the New Year with a foretelling of the future—a parallel reality steeped in uncertainty and speculation. The Story of a Disaster Foretold is a premonition composed of language drawn from news headlines, oracular literature, musings, and visions blended together in three acts by Eléonore Pano-Zavaroni, Mathew Kneebone, and Susannah Wood. The artists’ collaboration is founded on a shared interest in projection, a theme central to their individual projects exhibited at Rib (Afspraak Future and Power Relations) and inspired by Lamorisse’s premonitions of dying in the Caspian Sea, several kilometers north of the actual site of his death.
The work is voiced by Susannah Wood who is a Bay Area actor, playwright, and—in a previous life—was a radio editor and reporter for the City News Bureau in Chicago. Contingent on California’s suspect electrical grid, The Story of a Disaster Foretold will be broadcast live from San Francisco to Rib on Ever Widening Circles, a radio program by artist Ash Kilmartin via Radio Worm. The story will be introduced with a musical prelude by the Rib Staff Band, Linus Bonduelle, and Maziar Afrassiabi.
For Part 2: Natural Selection, Marije de Wit introduces a new photographic work presented in a Lightbox. Part of a larger body of recent photographic works, it signals her departure from sculpture to centralize and document working in the studio with photography. Work at the studio consists of surrounding herself with photos, objects, and drawings, that in the process of making sculptures would have been subordinate to the artwork’s final outcome. The photos are still-life testimonies of compelling assemblages that appear to her in the studio, which she then further stages into a scenery. The photos dissolve distinctions between making and finding, stating and questioning, abstraction and daily life, and advocate an intuitive logic and ambiguity to aim for more and broader modes of communication and comprehension.
Mirror and Luz Aberrante
We introduce two new paintings by Shahin Afrassiabi titled Mirror and Luz Aberrante and remove Tronie (Thomas Houseago) and Ruin the world. In a recent conversation with Shahin Afrassiabi, he said that he feels as if all of his experiences are distilled into these paintings, of life and of art. When looking at his paintings, it is not difficult to see that they have landed safely and calmly, as if after a long messy journey that is both personal and historical and arriving only with what is necessary to continue.
Exhibition opening: 26.03.2022, 18:30–23:00
Performances start at 20:00
With works by Shahin Afrassiabi, Mathew Kneebone, Kianoosh Motallebi, Eléonore Pano-Zavaroni, Jack Segbars & Bo Stokkermans, and Marije de Wit. With concerts by Cold in Church, Bergur Anderson and Capitaine Sentiment.
When people gather around an object that makes them interdependent, what would that object be if potentially their connection to it is established through their non-aligned fantasies about it? In the meantime, although still not used to the blackouts here, we see them now as part of our productive life. We once conducted a candle-lit job interview, and during one of our dark opening hours visitors indicated that they would like to come back to see the show when the power is back. Whether the show is on or off one always misses something. Nature is often disguised in the operational part of art production, presentation, and communication. But how meaningless our artistic operations would be if not animated by phantasmagoria.
Kianoosh Motallebi’s paraffin sculpture From a Marvellous Faucet is growing out of its bounds.
Marianna Maruyama wrote a beautiful article on Part 1: Survival of the Fittest: the big toe of little big man, published by Nero Editions, titled The Body, The Plane, The Camera creating yet another image of the program. Reinier Vrancken will write a follow-up text on Part 2: Natural Selection.
Marije de Wit displaces her photographic work Damage Control in the space and has removed the light sculpture This Means That Much. She follows up on the reader Former Epiphanies, Impressive Moments containing quotes which reflects the conversations on art, its politics and its relation to (end)durance, that went into making the program. Opening up our mezzanine, in Once a reader, visitors can read the essays, poems, and chapters that the quotes were taken from. Visitors get glimpses of the work of Anne Boyer, Don Mee Choi, Moyra Davey, Joy Harjo, Lyn Hejinian, Chris Kraus, Marianne Morris, Fred Moten, Alice Notley, and Juliana Spahr. A photo that features a quote by Anne Boyer is made into wallpaper and serves as a backdrop. The furniture is designed by Olivier Goethals and manufactured by Louis XvX.
Eléonore Pano-Zavaroni comes back with some of the artists she invited for Afspraak Future, to reactivate the work and her platform with After Life with Friends—by Fabrice Croux, Ash Kilmartin, Fabien Renneteau, Coralie Guillaubez, Romain Bobichon, Akim Pasquet, Eléonore Pano-Zavaroni & friends—with jingles set up especially in honor of The Upcoming Apocalypse and the end of Life. Celebrating Afspraak Future!
Mathew Kneebone introduces two drawings from his ongoing collection of cultural artifacts, courtesy of James and Jim Yu. On 24 October 2021, a large-scale power outage afflicted the Bay Area, triggered by a powerful storm that swept across Northern California. The storm arose from a seasonal shift occurring during the autumn months when intense barometric pressure can suddenly drop. With this fall in pressure, the immense moisture that drifts in the air from warm tropical waters across the Californian coast-described as an “atmospheric river”—is dumped onto the state, resulting in flooding accompanied by gale force winds. In this case, power was lost when tree branches broke away, severing overhead power lines. During the event, residents turned to social media to share their experience through videos and images. Among these were two drawings by James Yu (4 years-old), posted by his father Jim, inspired by a sparking electrical wire that James saw fall to the ground during heavy rainfall. He then drew an emergency PG&E (Pacific Gas & Electric) truck to go and mend it.
In Part 2: Natural Selection we have replaced two paintings by Shahin Afrassiabi. For the last two decades Afrassiabi‘s output has taken many forms yet always in a relation to painting‘s various genres. The new paintings seem to be portraits, still-lifes and landscapes simultaneously and in different registers. He says of his work: “I am mostly motivated by what I don't see.”
Work and Shadow-work, whispering vs speaking is a collaboration between Jack Segbars and Bo Stokkermans, connected to Rib‘s program. Their aim is to probe the possibility of artistic work within the present conditions. This question is approached via the life and art binary, which is the historic form of art in our time. They ask, if we understand art as that activity that aims to reflect on the conditions of life in which art is made, how is such a conception possible in the condition of full subsumption of life and art in neoliberal capitalism?
Both artists have taken—each differently—their own practices as case to examine this question, mobilizing the figure of the artist and artistic work within present-day production. For Stokkermans, this question is currently framed via the notion of (self)care: how can we understand, synthesize and radicalize art and life as a notion of caring work? For Segbars the focus lies on the institutional formation of art and the need to include a broader notion of authorship within the system of art. For both how the object of art functions and is produced within the field of art, is a critical focal problem.
This includes the underlying problem of the subject-object relation (and subsequent division of labor) that keeps the exceptional economy of art and the exceptionality of the artist figure in place. These issues are investigated by a continuation of the conversation between Stokkermans and Segbars which takes the dialogical encounter between the two practices as a regenerative model.
Within this model Rib functions as a nodal hub where this conversation is performed publicly, hereby questioning this idea of productivity within the current conditions. For Part 3: The Phantasy, Stokkermans and Segbars replace for the first time in the program The Lover‘s Wind the film by Albert Lamorisse with their own film documenting the moment after emptying the house of Stokkermans mother who recently passed away during a conscious decision to end her life. This film is juxtaposed with the postscript to Lamorisse‘s untitled film, the making of which lead to his death.
Exhibition opening: 28.05.2022, 19:00–23:00
Performances start at 20:00
With works by Shahin Afrassiabi, Steve Van den Bosch, Olivier Goethals, Thomas Helbig, Mathew Kneebone, Kianoosh Motallebi, Eléonore Pano-Zavaroni, Jack Segbars & Bo Stokkermans, and Marije de Wit. With concerts by Jacco Weener and Gerwin.
Following the introduction of The Last Terminal: Reflections on the Coming Apocalypse in September and Part 1: Survival of the Fittest: the big toe of little big man in November 2021, we continued our journey with Part 2: Natural selection in February 2022, Part 3: The Phantasy in March, and now Part 4: The Uncommunicative. In the program, we gradually add new works and replace some of the existing ones building a narrative that evolves whilst we are rethinking our pathways and future.
Grasping for something beyond reach—like the future—means questioning the current moment and asking: Will I have the strength to reel in the fish I’m trying to catch? Take notice of your desires, or try to anyway: The line that differentiates your rehearsal, your exhibition, your fiction, or your performance—from some other kind of real—is like a line drawn by a snake in the water, always moving. Not to scare you, but the stakes are probably even higher than you thought.
With the fourth iteration we introduce The Uncommunicative. If we’re talking about the future, we are also inevitably having a conversation about the current state, and that’s a hard fish to catch. If we’ve learned anything while thinking about the apocalypse, it’s that everyone has a different idea of how things end. So, something goes unsaid, not out of neglect or forgetfulness, but because that way it hangs on to its unsurpassable potential just a little while longer.
Mathew Kneebone presents Tracking, the first installment of work born from a recent blackout in his neighborhood in San Francisco. Power was lost mid-conversation between the artist and Maziar Afrassiabi—the now familiar *snap* of Rib’s fusebox signaled darkness both here and there. Using an online power outage map as a compass, he drove through the affected area seeking evidence of the disruption. He stumbled upon a PG&E truck parked alongside a charred utility pole with fragments of wire and wood strewn across the pavement. The driver explained that a fire broke out due to “tracking”, a condition where moisture from morning fog settles on power lines causing electricity to arc across components. Over the course of the program at Rib, Mathew Kneebone will continue collecting and cataloging failed components from Californian utility poles.
In response to the proliferation of accumulated paraffin splatter from Kianoosh Motallebi’s sculpture From a Marvellous Faucet, the artist presents the resultant waxy mound In advance of a delivery. Noticing his own vase-like shape after years of neglect, the artist 3D-printed an object tracing the silhouette of his body. With this new addition, he gives advance notice of the receptacles he plans to deliver to Rib following instructions on an ancient stone tablet.
As though in a tennis match with one-player, Steve Van den Bosch returns Maziar Afrassiabi’s serve by asking him to describe a future unknown work. Afrassiabi’s unedited text acts as a placeholder for their as yet un- reciprocated exchange, which will evolve over the course of the year.
Eléonore Pano-Zavaroni’s unscheduled audio announcements keep the conversation going through her platform After Life with Friends with jingles set up especially in honor of The Upcoming Apocalypse and the end of Life. The jingles celebrate Afspraak Future by gathering all the guests and accomplices IRL.
Thomas Helbig’s melancholic portraits Lady (1995–1996) are tinged with faded glamour, reflecting on Helbig’s discomfort and fascination with the powerful glossy images native to the language of advertising. For the artist, these works betray a transient quality, offer a glimpse of mortality and expose the futility of representation.
Exhibition opening: 30.09.2022, 19:00–23:00
Performances start at 21:00
With works by: Shahin Afrassiabi, Josef Dabernig, Judy Dunaway, Peter Fengler, Steve Van den Bosch, gerlach en koop, Olivier Goethals, Thomas Helbig, Mathew Kneebone, Kianoosh Motellebi, Jack Segbars & Bo Stokkermans, and Marije de Wit.
Following the introduction of The Last Terminal: Reflections on the Coming Apocalypse last September, and Part 1: Survival of the Fittest: the big toe of little big man in November 2021, we continued with Part 2: Natural Selection in February 2022, Part 3: The Phantasy in March, Part 4: The Uncommunicative, and now Part 5: Vibrato. We are gradually adding new works and replacing some existing ones to build a narrative that evolves whilst we are rethinking our pathways and future.
Slide into being. Slither into existence. Swim into a pool that was bigger than you expected. Now we’re taking notes from the cricket, whose vibrations sing a seasonal song in looped repetitions ‘and then, and then, and then’: What now? Shall I write about the table that makes squeezing sounds as I press the keys, as if crickets are making love? Why not? Or mosquitos carving their way through my TK-Maxx trousers?
A new architectural intervention (Susurak) as part of the spatial interventions by Olivier Goethals will have you pass through the beard of Fath-Ali Shah Qajar, and glide over the remnants of Kianoosh Motallebi’s work From a Marvellous Faucet. In addition to the fact that Motallebi’s work was knocked over last month by a visiting neighbor, it has also been attracting dust and debris from the MDF plates that were cut in its vicinity.
Jack Segbars and Bo Stokkermans offer a different perspective within a critical loop in a video featuring a conversation between Willem Schinkel and Rogier van Reekum in the auditorium of Tent/Kunstinstituut Melly, a site which they consider an interface between “going public and the arts”. In their words, “A duo duetting presents a third voice so to speak. A performance of labor.”
As part of a non-consensual written exchange around a future work that has not yet appeared by Steve Van den Bosch, Maziar Afrassiabi has brought two green pedestals to Rib. These objects, which have not been re-painted since their original construction in 1977, were gifts from Senior Curator Emilia Epštajn of the Museum of African Art, Belgrade (a collection, coincidentally built on gifts).
Josef Dabernig’s film Stabat Mater was shot in Puglia, South East Italy, in the architectural remains of a fascist era hotel. The dialectics of interior/exterior, light/dark, life/death, mother/child find balance in proximity with the organ etude composed by Christoph Herndler (based on one of Schubert’s Stabat Mater themes). Dabernig writes, “Hotel guests look restrained, sedated in the diffuse light of the service provider’s shimmering cage. A network of joists, pilasters and fluting exposes the proverbial off-season chill in the seating arrangements. Smartphones and tablets mask a total lack of communication. While in the dining room everything seems under control, outside nature is ready to attack. Resembling the work of cyclopes, the coastline braves the breakers. Rocks form a hyper-expressive bastion against the water, as if the town were a matter of permanent self-justification.”
In Rosa Coeli, the central character returns to his childhood village to bury his father. Dabernig writes, “…the history of his family reflects the eventful fate of a Central European settlement over the centuries. There is talk of war and migration, of people and nature, of the decline of the Rosa Coeli monastery and of the healing effects of wine. While Pellandini’s text—regularly portioned over the film—is anti-illustrated by fixed camera shots of local motifs and hotel interiors, the plot of a second story, grotesquely so to speak, pushes itself between the linguistic memories. Again and again, apparent references push themselves between word and image and leave—with the constant oscillation between feeling and structure—the irritation of a cynical game about the dialectic depths of history and modernity.”
gerlach en koop on Untitled, 2022, 11 × 9 × 3,5 cm, shirt, clothes rack and hanger: The clothes rack reinforces the perception that this one shirt is divided. It has a straight side and one that is intricately shaped. A closer look reveals that the shape is much less complex than it appeared at first: the breast pocket has simply been pulled inside out in a sculptural gesture. Like a tongue. Mute. In the film Pickpocket by Robert Bresson a provocative gesture links two interior spaces. A man suspected of pickpocketing is summoned to the police station. Sure of himself he demonstrates to the officer how the knife he has been given can be used to cut open a breast pocket—thus fearlessly revealing his knowledge and skills. At the very same moment his apartment is turned inside out by police officers looking for proof. It was a ruse that deprived the man’s gesture of the power to provoke.
Thomas Helbig’s sculpture (Sender) and drawings (Untitled and Ex) betray a world-weary fatigue, unspectacular violence, and ghostly figures from the past.
Befitting the vibratory mood, sound artist Judy Dunaway, the world’s foremost expert on latex balloons as sound producers, will perform a special set developed for the 60th anniversary of Fluxus, containing hidden references to works by Yoko Ono, Alison Knowles, Charlotte Moorman, Shigeko Kubota, Carolee Schneeman, Kate Millet, Valie Export, and others. The performance will be framed within George Maciunus’ 1963 composition Solo for Balloons and comes in response to the program by Peter Fengler of DE PLAYER.
Join us for the opening of Part 5: Vibrato with drinks and homemade food at the opening on Friday, 30 September. Doors open at 19:00 and Judy Dunaway’s performance will begin at 21:00.
Shahin Afrassiabi was born in Tehran. He studied art at Goldsmiths University in London. He works in Andalucia, Spain. Selected solo exhibitions include Paintings 2016–2018 at Soy Capitán, Berlin (2018), Radical Substance at Soy Capitán, Berlin (2015), Theory of Life at MOT International, London (2012), Subject to Form at Limoncello Gallery, London (2010). Afrassiabi’s work was part of several group shows, such as Been Caught Stealing at Kunsthalle Exnergasse, Vienna (2014), Showcase Preview at South London Gallery, London (2004), Transmission Gallery, Glasgow (2002), Early One Morning, Whitechapel Gallery, London (2002), and ICA, London (2000).
Steve van den Bosch focuses on the seemingly expressionless, tacit and unspectacular. His work results from zooming in on the boundary between invisibility and pure materiality and puts the implications of artistic production, exhibition and interpretation into perspective with a taste for the absurd. By erasing, doubling, blurring, reversing or reconnecting the elements that define a work of art, objects and situations are created that continually undermine their own status as works of art and almost casually refer to the surrounding conditions from which work can emerge and in which it is subsequently exhibited. Van den Bosch was a resident at HISK in Antwerp (1998–2001) and the Rijksakademie van beeldende kunst in Amsterdam (2006–07). He obtained a doctorate in visual arts at the University of Antwerp in 2016. Van den Bosch currently teaches at LUCA Brussels.
bostokkermans1995 is of it’s time. being one of many who was born into conditions (Tilburg-Netherlands) and who continously tries to survive and (ex)change based on the performative makeability of living.
Josef Dabernig (AT, 1956) is a visual artist and filmmaker based in Vienna: “In my short films I try to create a symbiosis of elements from narrative cinema and the tradition of experimental film. Simple narrative threads are interwoven with strictly conceived spatial settings and elaborate dramaturgies of editing; moreover, the relationship of image and sound is generally conceptually loaded with anachronisms and clashes of genre.”
Judy Dunaway is primarily known for her numerous works for latex balloons as sound producers, including sculptural sonic performances, sound installations, interactive pieces and acousmatic works. Dunaway began using balloons as a preparation on her guitar in the late 1980s, but her obsession with them as sound conduits grew out of the AIDS crisis: “Because repression had been a major factor in delaying the dissemination of proper information about prevention, I knew that I must approach my latex instruments without inhibition. This non-judgmental aural relationship and its corporeal visual manifestation remains a cornerstone of my work.”
Peter Fengler is the artistic director of DE PLAYER but besides that he does his own stuff as Ultra Hobby Complex or Chocoman in his soloworks and he's a member of cult-I-media chroupe Coolhaven.
Collective artist gerlach en koop works in twofold to invite a third. They live and work in The Hague, NL and Brussels, BE. Solo exhibitions include GAK Bremen, DE; Bonnefantenmuseum, Maastricht, NL; de Appel, Amsterdam, NL; Temporary Gallery, Cologne, DE; Alte Fabrik, Rapperswil-Jona, CH; 1646, The Hague, NL; Kröller-Müller Museum, Otterlo, NL; Library Van Abbemuseum, Eindhoven, NL; Stroom, The Hague, 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; de Appel, Amsterdam, NL; Mu.ZEE, Oostende, BE; de Vleeshal, Middelburg, NL; Netwerk, Aalst, BE; Le Grand Café, Saint-Nazaire, FR; Stroom, The Hague, NL; A Tale of A Tub, Rotterdam, NL; Lesage, Brussels, BE; S.M.A.K, Ghent, BE; the Baltic Triennial at CAC Vilnius, LT and Bunkier Sztuki, Kraków, PL; and Hammer Museum, Los Angeles, USA.
Olivier Goethals studied Architecture and Urban Development. He is working simultaneously as architect and artist. In his wide practice he researches the connection between space and consciousness. Olivier made spatial interventions and artistic installations for venues, such as Het Nieuwe Instituut Rotterdam, Z33 Hasselt, Extra City Antwerp, Be-Part Waregem, SMAK Ghent & Palais De Tokyo Paris. Previously he worked as a freelance senior architect for De Vylder Vinck Taillieu (2008–2016). Since 2010, he is teaching at the KULeuven Architecture Department. He was a guest critic at RU Ghent faculty of Architecture, LUCA School of Arts Experimental Studio and ETH Zurich faculty of Architecture. Goethals is in charge of the design and implementation of all spatial interventions for the art collective 019.
Thomas Helbig (DE, 1967) is an artist based in Berlin. The practice of Thomas Helbig contains painting, drawing and sculpture, while each of the media plays on its own field. The focus of the paintings is colour itself—in its intrinsic value, its materiality and the ability to create spatial illusions from countless shades of light and dark. In contrast, his collage sculptures demonstrate a different kind of transformation of the source materials he uses. His repertoire is based on a fundus of discarded, thrown-out things, as well as kitschy plastic sculptures. Helbig mixes and connects these disparate elements into new forms, which are displayed as coded messages from an enigmatic present. Helbig attended the Academy of Fine Arts, Munich and Goldsmiths, University of London, from 1989 to 1996, and is represented by Galerie Guido W. Baudach, Berlin.
Mathew Kneebone’s practice is founded on research into uncertainties surrounding technology, often combining different histories, myths, and folklore. His work touches upon various media including drawing, electronics, writing, sound, and performance to reconfigure or re-contextualize certain technologies, exploring an ambivalent blend of past and present. His work has recently been exhibited at Kunstverein, Amsterdam; 019, Ghent; Extra City, Antwerp; and Cloaca Projects, San Francisco. His writing has been published in Trigger Magazine, OASE Journal for Architecture, The Bulletins of The Serving Library, Another World, Umwelten, among others. He has given talks and workshops at Minnesota Street Project, San Francisco; V2_ Lab for Unstable Media, Rotterdam; Central Saint Martins, London; Sandberg Instituut, Amsterdam; San Serriffe, Amsterdam; EKA Gallery, Tallinn; Sitterwerk, St. Gallen; UEL, London. He teaches at California College of The Arts, San Francisco, where he is thesis writing supervisor.
Marianna Maruyama is an artist and writer geo-located in The Hague. Her ongoing interests are love, labor, and translation. Selected publications include: Performing Security (The Fifth Season, 2019); Translation as Method (Kunstlicht, 2017), Farocki’s Living Room (Harun Farocki Institut, 2018). A publication thematically oriented around Rome and its insect life is forthcoming.
Kianoosh Motallebi (UK, 1982) is a visual artist based in Brussels. He completed his master’s degree at the Slade School of Fine Art in London. Subsequently he was a resident at the Rijksakademie van Beeldende Kunsten. Motallebi took part in The Physical Center (Guest Projects, London, presented by Yinka Shonibare), Erased Walls (Berlin) and Rijksakademie Open 2011. His work has also been shown at the Van der Mieden Gallery (Antwerp) and he was artist-in-residence at Very Real Time (Cape Town). In 2017 he designed the coin De Stelling van Amsterdam Vijfje 2017 Zilver Proof. He is currently part of the artist collective Level Five (Brussels).
Jack Segbars is an artist based in Rotterdam. He is engaged with the conditions and parameters that define the politics of art production. The interconnections between the different positions: critic writer and visual artist are mobilized as artistic investigation. In 2009 he produced the publication All Around the Periphery (Onomatopee) that deals with the overlap of positions and domains. In 2012 it was followed by Inertia (Onomatopee) a travelogue of visits to Palestine that deals with artistic engagement. Segbars regularly writes articles on art and art-related subjects for Metropolis M, Witte Raaf, Parse and Open! He completed his PhD research at the PhDArts program of Leiden University the Netherlands.
Marije de Wit lives and works in Rotterdam. A selection of her recent activities are: artist talk in the context of artist in context, Netherlands Film Academy, Amsterdam; There Is So Much Thinking to Be Done, Wiels Project Space, Brussels; site-specific photo installation, Clermont-Ferrand (FR), thanks to Artistes en residence; and ESACM, VERY|BODY|TIME, edition of 25 posters, spread over free pasting places in Rotterdam.
Eléonore Pano-Zavaroni teaches art and art history at Esaaa (Annecy Alpes School of Art). She runs the art platform 5OU6ÎLES and the magazine Idoine and is one of the members of the scientific committee of the biennial Carbone, Saint-Etienne. Some of her exhibitions are Living Fair with Nayoung Kim, Changnyeong Bugok Spadium, South Korea (2019), Rendez-vous La Havane in Centro de arte Wifredo Lam, Cuba (2018) and Rendez-vous/Biennale de Lyon, Institut d’art contemporain, Villeurbanne (2017). She curated Eutrapelia, Back Lane West, Redruth, UK (2018) and published the monographic edition Entretien, Martial Déflacieux, Eléonore Pano-Zavaroni, Virginie Bobin, Stéphane Sauzedde, Esaaa éditions (2017). She is currently preparing a solo exhibition for next year at the Flaine Art Center and an artist’s book Rendez-vous.
Pano-Zavaroni has invited the following artist for Part 1: Survival of the Fittest: the big toe of little big man.
In her words:
“Danaé Jérôme is a goddess who speaks cat. She is the intensity of the present. She radiates and connects. She presents herself as a designer or an artist, depending on the context and the person she is talking to. She acts, with no sense of hierarchy between situations. Fully there. Fully with—whether in a neighbourhood knitting association, a textile design project, or an art residency.
Anchored in the cosmos, Jérôme Tillié makes experimental music, original graphic design, unexpected exhibitions, the reception of a hotel. He has a sense of display and presentation that is as sensitive as it is subversive in its sincerity. This is beauty. In Jérôme Tillié‘s sentences, words appear where we least expect them and vice versa.
When I met Akim Pasquet, he was looking for ways to extract energy from stones. I then discovered his strength in creating art spaces where everyone is welcomed and finds their place. He federates and explores, driven by questions of affect and energy, their circulation in intimacies and in ensembles. He is a curator, artist, teacher and director of the Limbes art space and the Carbone Biennial.
Fabrice Croux, attentive, makes piles, stacks. He states that art is to increase the sensitive and understand in a non-verbal way. He eats things, techniques, and other edible foods. He bathes in time, sprinkled with magic and strangeness, making objects that are other.
Romain Bobichon has an experimental painting practice. I often have the impression that he creates an infinite painting that develops in many dimensions. It is a relationship to the world rather than a medium. He produces things that can be manipulated, things that can be thought of with the body. Moreover, he also makes music or, with other acolytes, a series of fiction.
Ash Kilmartin does a lot of collaborations; she has a sense of staging and dramaturgy. She is a storyteller, sculptor, performer, radio broadcaster, gardener, chef, and runs Life.
Maziar Afrassiabi is an artist, he makes poems in spite of himself, is attentive to dreams. He unfolds an artistic practice, and a way of thinking with others, through his curatorial practice, mainly at Rib, which he founded and directs. For some time now he has been making beautiful sculptures, between the Merzbau and Valentine Schlegel.”