SP W/ T, P & E - BLOG

Van Geertstraat 81

2010-04-04T14:23:00.015+02:00

Waiting For Better Times, performative lecture by Ryan Rivadeneyra - part 1

2010-04-03T15:17:00.002+02:00

Waiting for Better Times is a presentation that will combine elements of performance with the new tradition of the Powerpoint lecture. Citing historical references, fictions, dreams, and elements of global popular culture, the artist will attempt to give a complete description of the city of Antwerp without having visited the city.

MIRALITE-EVOLUTION II

2010-04-03T00:08:00.002+02:00

Screenings at Novylon!

2010-04-03T00:06:00.004+02:00

Artist Talk by Bernd Kleinheisterkamp

2010-04-03T00:06:00.001+02:00

Artist Talk by Geert Goiris

2010-04-03T00:04:00.003+02:00

Performance/ Artist Talk by Peter Miller

2010-04-03T00:00:00.005+02:00

Three Conversations (Plus Epilogue)

2010-04-02T15:22:00.003+02:00

(the last two postcards left)
Online Project from Kathrin Klingner
www.katzenfilm.de

A few impressions of RE:Collections

2010-03-31T02:40:00.010+02:00

Visit: http://re-collects.blogspot.com/ for more ...

The Catalog

2010-03-30T19:48:00.009+02:00

An overview of works by all the artists in the exhibitions. The catalog also includes interviews with the artists done by Chris Clarke.

120 pages / colour printed

Design by Edi Winarni

If you want to receive a catalog by post (€10), please send your information to catalog@timetomeet.org

POTEMKIN VILLAGE in other words

2010-03-30T16:15:00.000+02:00

The title of this exhibition, 'Potemkin village', refers to the fake settlements erected at the direction of Russian minister Grigory Potyomkin to fool Empress Catherine II during her prospective visit to Crimea (Ukraine) in 1787. The term has come to stand for any construction designed to stage reality for ideological or other ends.

As such, the term has an overtly negative connotation: it refers to things that are all facade and no content. A Potemkin village consists of hollow lies, meant to beautify and disguise an unsightly emptiness behind them. Evidently, the goal of deception is that we cannot perceive it as such. This means that, in order to be convincing, a Potemkin village must hide away the fact that it's a construction, that it was designed by human hands. It wants to present itself as a natural apparition, as something that is 'just there' and that you idly perceive without really seeing it. A Potemkin village gives us a certain view on things, but doesn't want us to know that it is only one of many possible views.

As a metaphor, 'Potemkin village' can be related to many forms of deceptive constructions in our daily lives. Staying close to the origins of the term, it can refer to the belief that consumer society is an accomplished fact, while in reality it results from a certain ideology that doesn't want to be perceived as such. At the same time, one can associate the term with the projective perceptions by which we stage the world around us, or even broader, with the categories that determine our perception in general. In this light, reality is always a human construction, a play of signs that makes it impossible to perceive the world as it truly is. The only thing we can do, is form some vague idea of the uncut Real behind the system.

Underlying this notion of reality, is a problematic opposition between false surface and truthful depth, between the demonic fake and the godly real. If reality is a human product, and all human products are to some extent constructs, we live in a world that could be described as a global Potemkin village, a permanent construction site you cannot leave alive. The question then becomes why one should stick to the uncut Real, if reality as we know it is always-already a human fiction. Can one 'reveal' truth, if the truth is something we put together? And why should one, out of a distrust of constructions, leave the composition of the world in the hands of those who believe their worldview can overlap the world?

The artists in this group exhibition examine reality as a composition, as something that is staged, whether it is by conscious design or by the human gaze. Their works do or do not relate directly to the larger reality outside, but can all be seen as compositions that expose themselves as composed.

Text by Koen Sels

buildup @ NICC

2010-03-30T16:10:00.001+02:00

'Photographers in Conflict' at the FotoMuseum

2010-03-28T21:45:00.007+02:00

The festival for photojournalism Visa pour l’Image in Perpignan (Southern France), has established itself as a solid framework for an annual gathering of the photojournalism industry. Controversial in its presentation of, and in its reflection on, photojournalism, the festival determined the environment in which Galic and Gredig in 2006 examined the group of the concerned photojournalists. In the aftermath of Abu Ghraib and the Tsunami, a cross-section of 32 photographers was invited in situ by the two artists into a Spartan, black painted studio, in order to capture their still portraits and video interviews. By isolating the photojournalists and placing them in front of their camera, Galic and Gredig reverse the asymmetrical power relationship between photographer and subject, and explore the self-perception of the photographers.

Goran Galic and Gian-Reto Gredig,

Dirck Halstead / Getty Images (from Photographers in Conflict)

Goran Galic and Gian-Reto Gredig,

Pablo Bartholomew / Independent (from Photographers in Conflict)

Goran Galic and Gian-Reto Gredig,

Philip Blenkinsop / Noor (from Photographers in Conflict)

BOOKS - at FoMU

2010-03-27T20:09:00.009+01:00

'Books' is an exhibition about the relationship between the image and the book. The intention is to interpret the term 'book' in a wider sense and to define (and perhaps re-define) ways of representing the reproducable medium of photography. Editions from festival artists will be presented at the museums 'Platform 01' and 'Leeszaal' - two spaces located next to the FotoMuseum library. In part, the library will also be connected to the exhibition with an interventional project using aspects of the library itself.

Installation views of 'Books', Fotomuseum

CELLULAR AUTOMATION at Novylon

2010-03-26T18:44:00.000+01:00

PICTORALE MOLTO MALE - Van Geertstraat 81

2010-03-26T12:16:00.005+01:00

The curatorial concept presented in this exhibition concentrates on certain aspects of the festivals overall questions. Its concern is with the borders of photography. What criteria define a picture? What particular qualities give us the perception of a photograph and when do we give up on calling something a picture? 'pictorale molto male' takes a space related and site-specific approach to these themes. Its artists are interested in the relation between the idea and the materiality of photography. Their artworks not only deal with the physicality of pictures in space but also with space in a broader sense of the term; especially toward the one in which they are presented.

© Frauke Dannert, 2010, papercollage on wall plus carpet

© Matthias Wollgast, untitled, 2010

Installation view at Van Geertstraat 81 (work of Axel Braun)

Meeting Point at reopened FoMu DOKAFEE

2010-03-26T11:27:00.004+01:00

Official Opening at the Fotomuseum

2010-03-26T11:22:00.002+01:00

INSTALLATION THE BOOKSTORE

2010-03-26T10:15:00.003+01:00

The title above is about the attempt that Fong Ponto made to turn the bookshop into an artistic environment. All video's shown are a result of Ponto's get together with Kathrin Klingner in March 2010 in Amsterdam.

Stills & Things

2010-03-25T12:25:00.014+01:00

'Stills' plays with the variety of possible ensembles that we identify and accept as a authentic, evident situation. Something that seems to make sense in its limits of time and context.

"Things" looks for the undeniable magic inherited in all things. The useless effort to define them, to capture their essence.

THROUGH APPARATUS - Opening at the NICC

2010-03-25T12:14:00.041+01:00

Traditionally, it is assumed that photography is a process of image production; a means to an end. However, in an expanded sense, the critical potential of photography can also exist within the processes and apparatus that produce the image. The camera that takes the picture, the projector that displays the result and the labour that produces the print are just as photographic as the image itself. As these apparatuses are inextricably part of the process of photography, they are also fundamentally part of that which we deem photographic.

The works in this exhibition wil maintain a focused demonstration that photography, as a process, is not just a mode of image production but a critical tool with the ability to contain artistic inquiry within and around its technological and conceptual apparatus.

Tomas Boiy, Twin Peaks, (19°N, 34°W), Screenshot @ 12,5%, (LAYER1, GRAY/8), 264x125cm, diasec, 2010, Digital projection on multigrade IV paper

Philip Ullrich, untitled (Velvia), 2010

screening on wednesday

2010-03-25T12:01:00.000+01:00

Ohad Ben Shimon at the symposium

2010-03-24T20:54:00.004+01:00

The Staircase Knocked the House Over

2010-03-24T16:55:00.008+01:00

Taken from a French nursery rhyme* the title of this exhibition implies a form of destruction from within. However, this doesn’t mean that the artists in this show break down in a negative sense of the term. They rather build up, from inside to out by creating a new frame, defiant towards yet defined by the former. Their method is one of a playful abandon intended to reinterpret the definition of ‘space’. By intervening either in, on or outside of the image they all mark their territory to compose a new configuration of local reality that is neither a true nor false representation of the original.
When the boundaries of one arena collapse there is potential for a higher form to emerge constructed from its constituent parts.

*Les Deux-Sèvres, Paul Eluard

2010-03-24T12:24:00.000+01:00

Joachim Weischer, untitled, 2009

The 1 Million $ Picture Party

2010-03-21T21:09:00.004+01:00

Have you ever seen a 1 Million dollar picture? Have you wondered what it might look like? Have you always wanted to make one yourself? What would happen if you made such a picture? What then? Fame, fortune and everything that goes with it? Or, would it return you back to step one? Would it make you doubt what you already forgot you doubted?

Ohad Ben Shimon created such a picture in his visit to the festival. The picture and Ohad's unique method of contemplating about image production were presented live to the public at Madam Fortuna, followed by a party to celebrate the presentation of the picture.

(///\\\) - opening at Second Room

2010-03-20T15:25:00.004+01:00

In his work Abe Rechterschot points out interesting connections between objects, photographs and situations. He changes the hierarchic position of objects, alters them, and re-considers their (artistic) value. He investigates a way to document, present and re-document in a exhibition. He disorganizes expectations and attaches new meanings to the photographed object by changing scales, placing objects in surprising contexts and exploring the material of a photo-print. Photography and film are being used to decrypt and develop a new visual language. By small alterations Abe Rechterschot questions the construction of an image, the illusion of space in a flat image, and the materiality of a photograph and the photographed subject.

opening at FoMu

2010-03-20T13:44:00.006+01:00

Installing at Depot Dam

2010-03-20T12:05:00.000+01:00

first week at Novylon

2010-03-18T21:25:00.012+01:00

#298 (New York), Bert Danckaert - excerpt of „Simple present“, 2006

Untitled at Novylon, 2010, 157 x 105 cm, Alwin Lay

Corporation, 2010, 75 x 104 cm, Georg Parthen

WAITING FOR BETTER TIMES

by Ryan Rivadeneyra

THOUSAND WORDS (x4)

by Chris Clarke

This work uses the format of the art-historical lecture as a means of investigating notions of non-visibility and post-dematerialisation in the practices of four artists and filmmakers. Taking place in front of a blank screen, with a projection of white light serving to 'illustrate' the non-visibility of the works under discussion, the lecture will consider individual pieces by Guy Debord, Sean Snyder, James Coleman and Victor Burgin. Each artist will be discussed in 1000 words (as in the cliched term of 'a picture being worth a thousand words).

RE:COLLECTIONS in progress at Madam Fortuna

2010-03-18T16:45:00.003+01:00

RE:Collections is a mobile exhibition room using the form of a white trailer to provide a framework on which artworks can be displayed. During the festival the trailer will travel to several sites in Antwerp which will then become the starting points for a variety of short interventions.

check out www.re-collective.be for locations

buildup at FoMu

2010-03-18T11:45:00.016+01:00

The catalog arrived

2010-03-17T10:59:00.001+01:00

Time to meet at Solarshop

2010-03-17T01:24:00.003+01:00

let's start from here

2010-03-15T12:28:00.001+01:00