Object nr. 004 (L)

IMG_3726

Object: Object nr. 004 (L)

Term: Circular piece of glass / The object chose me

Property: Jaime Llopis

This object was pick up in the Brussels flea market the day it has been brought to the Natural History Museum of Hope. The person who brought the object decided to make an experiment to find an object of hope. He wanted to be ‘picked up’ by an object that triggered his attention rather then choose an object symbolically. And in this practice resides the hope. The object ‘touched’ the one that was looking for something.
The object has a circular glass shape, it’s hard to know to what it was before, maybe a picture frame.. What is is now , is an object you can see through, that makes something appear through, it’s an in between tool to look, an hinge between resistance and availability.

28.12.2013

Battery 2

Morning.

Even though I didn’t go on total hunger. I feel the effects of eating the restrict amounts very much. I basically dream with food every night, but food is always a bit monstrous and out of proportion in the dreams. Last night I dreamed I was eating myself, my fingers, the corners of it, big pieces… then I got scared and decided to hide the pieces I haven’t eaten yet. Continue reading “28.12.2013”

21.12.2013

Battery 1

1. Sleeping

is hard indeed. Literally . But also the cold, the men. It is like this place switches identity overnight. Jekyll and Hide. The beauty and warmth of the people during the day. The alcohol, sexism and territoriality at night. It is hard to stay vulnerable in those circumstances. I now change myself into a big blob with the army blanket as an outer skin. Completely opposite to the fragility of the sleeping body, now there is this kind of wurm-monster in its cage. If it is warmer I will go back maybe to the surrender, the exposure that I hope would break the aggressivity. But then again, there is not so much to say to the drunk guy. Just accept it as part of the experience I guess.

 

battery 2

Practice
I decided to go back to 3 sessions per day. I am now getting intimacy with the objects and with the differences among volunteers.It is indeed much better when they come back and the relations with the practice show their effects. I am now asking them to come in blindfolded already. So they enter the battery blind and then choose their material-object through touch. I am very impressed by the solid bounderies in relation to th senses some people have. It’s sad but at the same time hopefull because it means that there is a lot in there to explore. Some people can already connect a lot with the loss of their territoriality and of the one of the objects. The doubt of where does the body end and where does the object start is already there. When you see it happening, this is beautiful. You see the “I” i. the sense of a “person” dismantling in front of you. It’s subtle and rare , but when it happns it is clearly there.
I am sometimes in doubt if i can go much deeper with this practice here. I think yes, in the sense of sharpening th relation with the volunteers, the way inlisten for them for example. But in relation to the space, I have my doubts. The fact that they enter the battery is super strong, good, it works, since it is a membrane itself, a body which is living and being lived intensively. But when there is too much happening in the Bureau, I wonder if it is not what makes them too aware of themselvs …awareness which is hard to break in order to propose something else. (…)

 

5. touch

5.
touch

love, vulnerability, existential connection, courage

5. touch

In this image the Hope bags have found one another. They saunter through the sky in imitation of the birds above them. Some of them just surfaced from the lake, from their unconscious desires. Others are simply looking for others to dance with, to draw patterns in the sky, to add irreverent movement to the stillness of the landscape. This is the card of Touch… Continue reading “5. touch”

the tender institute (2012)

AN INSTITUTE IN SITU
Elke Van Campenhout
Who’s afraid of the Institute?
In the whirlwind of changing subsidy policies, and political crisis, the Institute has become a
partner to be mistrusted. Paraphrasing Dorothy Parker you could say that the Institute in most
contemporary engaged art practices is ‘not one to be tossed aside lightly. It should be thrown
with great force.’ What has become clear from all the waves of institutional critique that have
fueled the visual arts production in the last decennia, is the Institute’s extreme flexibility to
reinvent itself, to recuperate and produce the ruling discourses, in a constant craving for the
new. The Institute in this understanding has become synonymous with capital power struggles,
with normative regulation of the arts scene, and with an unsavory attachment to a global
economy that creates and sustains inequality, poor labor conditions and a sanctimonious elitist
attitude towards knowledge and its distribution.
Continue reading “the tender institute (2012)”