Part 4: The Uncommunicative

28.05.2022, 19:00 – 23:00

With works by Shahin Afrassiabi, Steve Van den Bosch, Olivier Goethals, Thomas Helbig, Mathew Kneebone, Kianoosh Motallebi, Éléonore Pano-Zavaroni, Jack Segbars & Bo Stokkermans, and Marije de Wit. With concerts by Gerwin and Jacco Weener.

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, Tracking, 2021. Photos: Lotte Stekelenburg

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.

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Kianoosh Motallebi, In advance of a delivery, 2022. Photo: Lotte Stekelenburg

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.

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Steve Van den Bosch, Untitled – Materials and dimensions to be determined, 2023. Photo: Lotte Stekelenburg

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.

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Éléanore Pano-Zavaroni, Afspraak Future, 2021
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Éléanore Pano-Zavaroni, lyrics by Земфира “не стреляйте”/ Zemfira; “Do not shoot”, Afspraak Future, 2021

Éléonore 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.

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Thomas Helbig, Lady, 1995–1996. Photo: Lotte Stekelenburg

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.

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.

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.

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.

Éléonore 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, Éléonore 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 artists. 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.”