Charming for the Revolution, Pauline Boudry / Renate Lorenz, still. Installation with 16mm/HD, 11 min. 2009. Performance: Werner Hirsch. Courtesy of Ellen de Bruijne Projects Amsterdam and Marcelle Alix Paris.
Jester inaugurates its new programme with the group exhibition Charming for the Revolution*, introducing several major themes and values that underlie Jester’s programme and identity. The exhibition is part of a longer collaboration with artists Carly Rose Bedford, Toon Fibbe, and Pauline Boudry & Renate Lorenz – all of whom present new productions or works adapted to Jester’s unique exhibition space at C-mine.
Charming for the Revolution gives platform to artists who persistently choose to view the world from another perspective and to manipulate, magnify, or on the contrary, disguise things. Their works examine our relationship to labour, history, economy, and materials.
In conjunction with the exhibition, Jester organises a number of public events, including a reading group, a film programme, and a series of talks. More information about the programme will be published soon, on Jester’s new website (coming up in February).
* The title of the exhibition borrows from the film Charming for the Revolution (2009) by Pauline Boudry & Renate Lorenz
Carly Rose Bedford’s work addresses the themes such as LGBTQ+, emancipation, the body vs hierarchical structures and translates them into a multidisciplinary practice. The seemingly recognisable forms and objects incorporated in their installations cannot be easily labelled or interpreted. Bedford rejects normative representation and proposes alternative relationships that we can enter with people, nature, and things around us. Carly Rose Bedford graduated from the Sandberg Institute, Amsterdam. In 2019, they won the MK Awards, followed by several solo presentations in the following years, including Utopian Redux (2020) at TENT Rotterdam.
Pauline Boudry and Renate Lorenz have been working together in Berlin since 2007. They produce installations that choreograph the tension between visibility and opacity. Their films capture performances in front of the camera, often starting with a song, a picture, a film or a score from the near past. They upset normative historical narratives and conventions of spectatorship, as figures and actions across time are staged, layered and re-imagined. Their performers are choreographers, artists and musicians, with whom they are having a long-term conversation about the conditions of performance, the violent history of visibility, the pathologization of bodies, but also about companionship, glamour and resistance. Their sculptures and objects often refer to the potentiality of performance, using materials that connect to props, stages, costumes, microphones, wigs or dance floors.
Recently, they have shown their work at the Crystal Palace – Museo Reina Sofia Madrid, Whitechapel Gallery, London, Hammer Museum Los Angeles, Seoul Museum of Art, Centre Pompidou Paris. Recent solo exhibitions include CA2M Madrid, 2022, Kunstraum Innsbruck, (2021), Frac Rennes (2021), NBK Berlin (2020), Swiss Pavillon, 58th Biennale di Venezia (2019), Julia Stoschek Collection Berlin (2019).
(text: Boudry & Lorenz)
Toon Fibbe uses performance, video, fashion, installation, text and sculpture to get a better grip on the shadowy world of finance and economics. The invention of characters and personas is what drives the production of objects, films and installations. It is precisely thinking through characters that makes it possible to transform the abstractions of the financial world into unexpectedly theatrical works, wherein extravagant stock market traders stagger on high heels and finance is made visible through talking sculptures, body horror and physical – sometimes even literally dripping – images. Fibbe deals with bodily and ghostly metaphors as a way of understanding economic processes – both now and throughout history. His work departs from the idea that political economy has always had an affinity with the ghostly sphere – as seen, for instance, in Adam Smith’s metaphor of the invisible hand or in the writings of Marx, but also in the gothic fiction of the 19th century.
Toon Fibbe graduated from the Piet Zwart Institute and did a postgraduate at the Jan van Eyck. His work has been shown at Wiels, Kunsthuis Syb, M HKA, Nieuwe Vide, M Leuven, and Kunstfort Vijfhuizen, and others.
(text: Toon Fibbe)
Realised with the kind support of the Flemish Community, the city of Genk, and Jester members.
Jester Artists An afternoon filled with presentations 11.12.2022
Helen Dowling, ‘Custom Make-out’, photo series with Carmen Canela & Lina Bembe
On the 11th of December, we come together for the finissage of Marie Zolamian’s exhibition, and the end of a major chapter of our organisation. At the end of 2022, the programme initiated still under two organisations, FLACC and CIAP, comes to an end. We are grateful for the last years and for the experiences and encounters they brought. We are looking forward to starting 2023 with new ideas, energy, and humour – in the style of Jester.
Some of our artists will share elements of their research or project on this special day. Alongside, we will hold a goodbye drink with some departing colleagues. Luuk Nouwen worked for ten years as artistic director at FLACC and the last year as senior supervisor artistic projects at Jester. Tine Deboelpaep worked for the past years as an artistic employee at CIAP and Jester. Lisa Costantini worked for two years at FLACC and Jester in administration and for the ceramics studio.
3 p.m. – artist talk with Sarah van Sonsbeeck and Rana Hamadeh,
moderated by Orlando Maaike Gouwenberg (small auditorium)
4 p.m. – tour exhibition by Marie Zolamian &
goodbye drink (exhibition space)
5 p.m. – screening ‘Terms of Intimacy’ by Helen Dowling (work in progress) and a conversation with Helen Dowling and Jo-Lene Ong (small auditorium)
6 p.m. – presentation by Alain Nsenga (small auditorium)
It is the final day of Marie Zolamian’s solo show ‘Droomland’. Seize the last chance to be wowed by ‘Symbiocene’, one of the artist’s largest paintings to date: an impressive landscape, stretching effortlessly across the width of the exhibition space. The work takes you into a colourful, mysterious universe that emerges from Zolamian’s oeuvre and reflects on the political meanings of the landscape in contemporary context.
Miriam Sentler presents her audio installation ‘The Forest Underground’, developed in collaboration with composer Drake Stoughton. The duo has been inspired by the sounds and the acoustics of the coal mines, where the voices of birds, crickets, and trees were heard on a daily basis while accompanying the miners. In their piece, Sentler and Stoughton compose a quasi-fantastical, transhistorical soundscape of that ‘underground forest’. The work will have its premiere on December 11th, followed by a conversation with the artists. You can read more about the project here.
Helen Dowling will give us a glimpse into her upcoming film and ongoing research initiated in 2020 with the support of Sint Lucas Antwerp and continued during her research at Jester. ‘Terms of Intimacy’ engages the image of sexuality and femininity in mainstream pornography by developing strategies to repurpose the acting and means of production within custom pornography. As part of the research, Dowling has been working on a new film, in collaboration with Custom Performers. Fragments of the work in progress will be presented, and the screening will be followed by a conversation with the artist. You can read more about the project here/below.
At Jester, Sarah van Sonsbeeck continued her research into ‘immaterial architecture’ – things that affect our living environment that might not be immediately tangible or escape our control – such as molehills, which inspired her most recent series of ceramic and bronze works. Rana Hamadeh’s interdisciplinary projects often question the authority of historical voice, creating visibility around erased or unrecorded voices. In theatrical performances, sound works, texts or games, she creates space for discursive approaches to subject matter. At Jester, she tested the waters of becoming a game designer and ceramicist. We host a conversation between the two artists about their practice, moderated by Jester’s artistic director Orlando Maaike Gouwenberg.
Alain Nsenga comes from a miners’ family. This personal story fueled his fascination with the history and impact of mining across the globe. For his research, he interviewed miners from Congo and Limburg, and discovered links between their stories of migration, hard labour, and underground friendships. On the 11th, he will present parts of the research that was earlier on show at Z33 as part of On Trade Off – Charging Myths.
“The Forest Underground” by Miriam Sentler and Drake Stoughton was realised with the support of Jester, Emile van Dorenmuseum and O&O subsidy of CBK Rotterdam.
For Kids Arts Day and on the occasion of Marie Zolamian’s exhibition ‘Droomland’, currently on show at Jester, we organize a special workshop inspired by her works. The monumental painting ‘Symbiosene’ is the centerpiece of the exhibition. In this colourful scenery of 14 m long, individual, smaller artworks are integrated.
In a playful manner, children discover Marie Zolamian’s wonderful universe and learn how to use all kinds of drawing and painting materials. We create smaller artworks, which we will put together into one big canvas, just like Marie’s work!
The workshop will take place on Sunday November 20th, at Jester’s exhibition space, from 2pm till 5pm. You can find us on the 1st floor of the C-mine energy building. Children can work throughout the afternoon to create their works under the watchful eye of our instructor(s). The workshop was designed and will be guided by artist Fee Veraghtert. At 2pm, 3pm, and 4pm, she will provide an introduction about how to get inspired by Marie Zolamian’s work and the available materials.
Participation in the workshop is free of charge. Note that it can get ‘wild’ with the markers or paint! Be sure to bring an apron or old t-shirt to protect your nice clothes. Any questions? Mail to email@example.com
We dedicate Friday the 28th of October to the artistic practice of Marie Zolamian. We delve into her work through ‘Symbiocene’ and ‘Welkom – Bienvenue – Welcome – Willkommen’, the two monumental works recently created by the Liege-based artist. We will bring together art lovers from Liège and Limburg to visit both artworks in Genk and Antwerp. Do you also want to join?
The painting ‘Symbiocene’ is the centrepiece of Marie’s solo exhibition ‘Droomland’ at Jester. The painting is so large that it takes up almost the entire width of the exhibition space. In the work nature and the landscape flourish and touch upon political urgencies and art-historical references. Together with Marie Zolamian, we dive into her mysterious, visual language and unravel the connections and narratives the work incorporates.
During KMSKA‘s opening weekend on the 24th and 25th of September, Zolamian’s commissioned mosaic in the peristilium called ‘Welkom – Bienvenue – Welcome – Willkommen’ was not publicly accessible due to a platform barricading the passage. The artist agreed to the placement of the platform, on the condition that an official inauguration for all museum commissions would follow later. In the meantime, it was announced that Lili Dujourie’s work ‘Mimesis’ would be inaugurated to the general public on 28 October. Unfortunately, Zolamian was told by the museum that her mosaic would not be part of the festivities.
While waiting for an official inauguration by KMSKA, we already invite you to the exclusive inauguration of ‘Welkom – Bienvenue – Welcome – Willkommen’. For the creation of her work, Marie delved into the archives and collection of the museum. During this inauguration, the artist will provide extensive explanations of her work. Afterwards, you are free to explore the museum and view the presented collection pieces spanning seven centuries. Note: the museum closes at 5 p.m. For those who have seen enough art that day, we find a nearby cosy café to hang out. In the evening, we will gather for the return trip with stops in Genk, Hasselt and Liège.
11:40 a.m. Departure Hasselt, parking at the back of CCHA
12:00 Arrival Jester, Genk
Introduction: by Artistic Director Orlando Maaike Gouwenberg
Explanation ‘Dreamland’ by Marie Zolamian
We provide a sandwich lunch + coffee/tea/water during the lunch break
*tip: not hungry yet? Feel free to bring your lunchbox for a snack later on
1:00 p.m. Departure from C-mine parking 2 to Antwerp
2:00 p.m. Arrival KMSKA (in case of heavy traffic on the road around 14:30)
Inauguration of mosaic by Marie Zolamian and welcome speech
Followed by a visit to KMSKA & ‘Mimesis’ Lili Dujourie or a cosy café hang out.
Note the KMSKA closes at 17:00!
5:30 p.m. Meeting before return from Antwerp
Arrival Genk around 18:30
Arrival Hasselt around 19:00
Arrival Liège around 19:30
– 45 euros members: only visiting the mosaic
– 65 euro members: incl. admission ticket KSMKA collection
– 55 euro non-members: only visiting the mosaic
– 75 euro non-members: incl. admission ticket KMSKA collection
*price includes bus trip+ coffee or tea+ sandwich lunch. Depending on the chosen tariff, you indicate whether you would like a ticket to the KMSKA collection or not. We will make the reservation for you. Let us know if you have a museum pass, we will calculate your discount.
Please note: if there are fewer than 10 participants from Liège, it will be cancelled and the entry fee will be refunded. Before the start of the trip, registered participants will receive further practical information via e-mail. If you have any questions in between, you can always contact us! Do not forget to renew your membership if necessary. This can be done via this link or via firstname.lastname@example.org. More info on our memberships can be found here
Workshop How do I photograph my work with a camera or smartphone? 24.09.2022
Do you need good pictures of your visual work for your website, portfolio and social media? Would you like to make them yourself, but you don’t have the know-how? This practical workshop teaches you how to take good reproduction photos with a simple camera, even if you have little or no experience with photography.
Photographer and teacher Kristof Vrancken will lead the workshop. He will work with you in various test settings such as a studio and an exhibition space. You will learn to take reproduction photographs with a reflex camera, a compact digital camera or even your smartphone.
The workshop takes place on Saturday the 24th of September, from 10 a.m. to 4 p.m. You can find us at the following address: Casino Modern, André Dumonlaan 2, 3600. The workshop is free, but the number of places is limited to 8 participants.
Registration is required and is possible until Monday the 12th of September. You can access the registration form via this link. We will confirm your participation by Thursday the 15th of September.
Want to follow more workshops?
VONK, Z33 and Jester (the former CIAP/FLACC) join forces to organise a series of workshops about the practice of the visual artist. The workshops will help you take your first steps and offer you tools to get started afterwards.
The workshops are intended for professional, semi-professional and/or starting contemporary artists with a Limburg connection who have followed professional art training. The workshops are held in Dutch, are free of charge, but the number of places is limited.
Keep an eye on our website for more information about the future workshops:
Saturday the 15th of October | Workshop strategic thinking and business management
Once again, we organize a three-day bus trip to Kassel to visit DOCUMENTA fifteen! We are looking forward to another great weekend!
16.09.22: Bus trip towards Kassel with short stop, arrival at hotel, visit to Documenta
17.09.22: groupvisits and free moments
18.09.22: Check-out of hotel, visit to Documenta, bus trip back to Limburg with short stop.
* More details will follow soon
Members price per person
420 euro for a double or twin room
550 euro for a single room
Young members price per person
380 euro per person for a double or twin room
Price non-members per person
470 euro for a double room
600 euro for a single room
The participation fee includes the bus trip, 2 overnight stays with breakfast, a cancellation and assistance insurance. What is not included in the price? Personal expenses, meals, drinks, etc. Entrance fee for Documenta (we will book this on the spot, so everyone can get the discounted price they are entitled to).
E-mail us before 24.07.22 to email@example.com with the subject: trip KASSEL. In your mail, be sure to include the number of participants, everyone’s names, contact details, billing details, your preferred room type and which participants are or are not members of us. Attention! Your registration is only complete after the transfer of an advance payment of €100 per person to BE44 132 4360639 45. Please mention: KASSEL+name + number of participants (number of members)+ room type.
As soon as we have received the bank transfer, you will receive a confirmation e-mail from us. The invoice* and more details about the trip will follow in the first week of August. If we do not have enough participants for the trip, we will unfortunately have to cancel it. If this is the case, your deposit will be refunded in the first week of August.
* In order to reduce the workload for our administration, we appreciate one invoice per group registration, of course individual invoices are possible if desired.
Erica Ferrari & Ana Catarina Mousinho Memory-Lab Pavilion 10.09–16.10.2022
The Memory-Lab Pavilion by Erica Ferrari and Ana Catarina Mousinho is a participatory art installation on the C-mine site, which functions as an artist workshop, an exhibition space, and a meeting place. The pavilion is a work in progress – in the course of five weeks, the duo will organise a series of workshops and invite participants to co-create the installation.
Erica Ferrari’s practice, spanning sculpture, installations, and urban interventions, explores the interplay of politics and memory in the public space. For her project in Genk, she invited a fellow artist Ana Catarina Mousinho to co-develop the Memory-Lab Pavilion as a site for embodied, collective memory work. During their residency in Genk, Ferrari and Mousinho became intrigued by the urban- and memory-scape of Genk. Over the last two centuries, the city has transformed from a village of landscape painters into an industrial hub, and eventually, into a post-industrial cultural site. Each of these transformations has brought with it a certain degree of erasure and loss of memories. Through the project, the artists want to give space in particular to those memories and stories that have low visibility in the public space. “The right to memory is the right to public space”, they say. In contrast to official narratives petrified in monuments and rites, Ferrari and Mousinho will explore the potential of collective action and ephemeral gestures as strategies for remembering and storytelling.
The participants in the workshops are invited to explore how memories and stories can be transferred through bodily and material gestures. Ferrari and Mousinho will introduce the participants to several gestural drawing and sculpting techniques, using natural materials like clay and charcoal as well as the materials associated with construction sites, such as plaster, concrete, and debris. The focus of the workshops is not on their physical outcome, but rather, on the process of working and making together, exchanging stories, and creating new memories.
The structure of the installation, designed by Ferrari, has been inspired, on the one hand, by the infrastructure of a construction site and, on the other hand, by the pavilion as a semi-permanent, flexible architectural structure. The pavilion is located at the former mine site of Winterslag, in the area which is a palimpsest in the making. While the monumental edifice of the Energy Building and a few others are preserved, the majority of the former mine infrastructure has been demolished. It is at this location that the future house for Jester will be built. Located in-between the architectural heritage and the construction site, the Memory-Lab Pavilion becomes a space for negotiation between the past and the future.
The installation is located on the C-mine site, behind the LUCA School of Art. The ground floor of the installation is accessible at all times. Please, treat the installation and objects you will encounter with respect. The first floor of the installation is accessible during the workshops only.
The public workshops take place on three Saturdays: 24.09, 01.10, and 15.10.22, between 1 and 4 pm. On those days, you can join a workshop or come by and meet the artists.
The objects that will be created in this process will temporarily furnish the Memory-Lab Pavilion. After the exhibition’s end, they can be retrieved by their makers.
Erica Ferrari (°1981, BR) is an artist and researcher based in São Paulo. In recent years Erica produced objects and installations from research around the relationships between architecture, space and history. She participated in individual and collective exhibitions in Brazil and abroad and received acquisitions and artistic production awards. Recent exhibitions include ‘32nd Biennial of Graphic Arts’ MGLC, in Ljubljana, Slovenia, ‘O que não é floresta é prisão política’, Reocupa Gallery of Ocupação 9 de Julho – MSTC in São Paulo, ‘Has always been dystopia’, XPO Gallery, in Enschede, Holland, ‘Estamos Aqui – Ocupação Ateliê 397’, SESC Pinheiros. São Paulo e ‘37º Panorama da Arte Brasileira’, MAM – Modern Art Museum of São Paulo, Brazil. She was artist in resident at Pivô (São Paulo), Sculpture Space in Utica (New York), GlogauAIR (Berlin), ARE Holland (Netherlands), AIR Niederösterreich (Krems, Austria) and Jester/FLACC/CIAP (Genk, Belgium). PhD Student at School of Architecture and Urbanism of University of São Paulo (FAU USP). Researcher associated to LabOUTROS – Laboratory of the Department of History of Architecture and Aesthetics of FAU USP. Collaborator of MSTC – Movement of Low Income Workers of São Paulo City Center.
Ana Catarina Mousinho (°1980, BR) is a visual artist, art educator and activist. Born in Recife, Pernambuco, lives and works in São Paulo. She has participated in solo and group exhibitions in Recife, São Paulo, Brasília and Frankfurt and in artistic residency programs in Recife, São Paulo and Brasília. From different supports, such as drawing, painting, sculpture and installations, he deals with the material found (collecting ordinary objects) or created (through paintings and drawings with a predominance of color and an excavated and gestural trace) as a means of friction of memories and a broadening of understanding about the processes of interpersonal relationships, individual history and social paths traced together. She works with the MSTC in the areas of culture, art and education. He also proposed and held art workshops in 2017 with children from Cidade Estrutural in Brasília during an artistic residency at CAL-UNB, in 2016 he promoted meetings with children to walk, draw and paint the city during a residency at l.a.m.a-sp, São Paulo and in 2016 worked at Instituto Dom Helder in Recife as an educator in the “Amarelo cor de Urubu” project.
The artists would like to thank Alicja, Orlando, Luuk, Stef, Kevin and the entire Jester team, Giselle Beiguelman and FAU/CAPES, Carmen Silva and MSTC, our families and friends for their support.
The project is realised with the support of the Flemish Community, the city of Genk, and Jester members; PROAP/CCP – Faculty of Architecture Urbanism at the University of São Paulo, and CAPES – Coordenação de Aperfeiçoamento de Pessoal de Nível Superior [Higher Education Personnel Improvement Coordination].
In If on a winter’s night a traveler, a novel from 1979, Italian writer Italo Calvino evokes the image of a reader on a horseback, moving simultaneously in two parallel worlds: the physical world and the one of the book. This ‘reader-rider’, contrasted with the stark image of a reader at a lectern, represents an emancipated audience, taking the reins and driving (or rather riding) the plot home. Not without reason, the title of Alexis Gautier’s exhibition refers to this figure. His working method can be compared to ‘collective fiction writing’ – even if the outcome is not always literary.
In parallel with Alexis Gautier’s exhibition Riding High in the Reading Saddle, we are organising a reading group which takes Italo Calvino’s novel as a point of departure. Over the course of three evenings, we will explore the potential of non-linear storytelling, collective reading, and situated literacy. The workshop is a collective engagement and will be moderated by Jester’s curator Alicja Melzacka.
The workshop is free. The texts that we read are written in English, therefore the sessions will be held in English (no proficiency is required and we also speak Dutch). Please subscribe before the 11th of July – the specific plan will be tailored to the number of participants. You can mail firstname.lastname@example.org to confirm your participation.
On the 14th and 15th of May, the open studio weekend for visual artists all over Flanders and Brussels, Jester (former FLACC/CIAP). We offer you a sneak peek at our the different workshops: like the ceramics, the metal and the digital studio. During your visit we offer you a unique inside in the methodology of our Artist in residence: Arjun Das (IN) and in the ceramics studio, we present work in progress by Sarah van Sonsbeeck (NL). Simultaneously in the ceramics workshop, we cast the new Jester coffee mugs in moulds and invited an artist to use the turntable.
Not only do our residents find their way to our studios, but also many other artists and makers rent our facilities to create projects that have specific technical needs. Interested in getting started? During our Open Studios, we present the studio formulas and our team members can help you out with practical questions you may have. On Saturday the 14th of May, we also present our collaboration with vzw Het Steger in the form of a community kitchen. Feel free to take a look at the café and order a special snack and drink!
PROGRAMME Saturday & Sunday the 14th & 15th of May, 1 till 5 p.m.
Arjun Das – open studio Arjun Das (IN) comes from a family of migrant workers who travelled through India in their search for work. During his working period, he wants to get in touch with migrant workers in Genk and transform their stories into woodcuts and other works. For this project, he mainly woks with used materials, such as reclaimed wood.
Sarah van Sonsbeeck- presentation work in progress in the ceramic studio Sarah van Sonsbeeck (NL) is interested in monuments, and in particular in ‘accidental monuments’: objects that are given a role in remembering and commemorating because of certain events. She asks questions like “Why don’t monuments change when our thinking about important themes and historical events does?”
Activated ceramics studio In the ceramics workshop, there is even more to see. We cast the new Jester coffee mugs, and we invite an artist to use the turntable.
Community kitchen in the café * Only on Saturday In the café we present our collaboration with vzw Het Steger in the form of a community kitchen. Feel free to take a look and order a yummy snack and drink!
PRACTICAL INFORMATION On Saturday and Sunday the 14th and 15th of May, we open our doors between 1 and 5 p.m. The admission is, of course, free of charge. Location: Casino Modern, André Dumontlaan 2, 3600 Genk.
Three Tropes for Entropy Edition Launch 01.05.2022
“Eu era gases puro, ar, espaço vazio, tempo.”
“I was pure gas, air, empty space, time.”
01.05.2022 – …
You are kindly invited to the third and final event of Three Tropes for Entropy. The third trope of the exhibition will take the form of a collective edition. The launch will be held at the studio of Angyvir Padilla this Sunday, 1st of May, from 1-7pm.
The edition’s presentation marks the dissolution of the transformative exhibition, an outcome of the Lichen Curatorial Prize 2021-22, organized by Jester (former FLACC/CIAP) and Curatorial Studies KASK. This final gesture of launch introduces an indetermination to the exhibition process, which has no fixed end date but keeps existing in different forms, like molecules of gas once compressed into a condensed space and suddenly freed into the ambient.
The collective edition includes three printed pieces. Created by Angyvir Padilla, mountaincutters and Daniel Steegmann Mangrané, all prints stem from the textual practice embedded in the artists’ processes:
Edition proposal by Angyvir Padilla
Executed in reflective, translucent ink and supplemented with a handmade match that activates the reflection effect in the dark, the silkscreen print by Angyvir Padilla borrows verses from the poetry of Argentinian writer Alejandra Pizarnik. The final result is a print that can be activated as an instalative piece.
Edition proposal by mountaincutters
The inkjet prints by mountaincutters were presented in the exhibition – first in Jester’s exhibition space and later moved to C-mine’s compressor’s hall for the second trope of the exhibition. Every print carries a unique poem written by the artist duo and is supplemented with magnets for hanging.
Edition proposal by Daniel Steegmann
Executed in graphite ink, the recto-verso silkscreen print by Daniel Steegmann Mangrané shows an excerpt originally coming from Stella do Patrocínio’s oral poetry, defined by her as acts of gabbling. Compulsorily admitted into a mental asylum, Stella do Patrocínio was a maker of poems that were never written down but took visual form through the interpretation of Steegmann Mangrané. Mirrored, oblique, fractured, and incised, the typography remains translucent and void—as light as thin air, like gas, as the empty space and time evoked by the self-description of Stella do Patrocínio.
All silkscreen pieces are exquisitely printed by Camping Penrose / Liselotte van Daele.
The edition launch takes place at the studio of Angyvir Padilla during the 38st Art Brussels weekend on Sunday the 1st of May from 1 to 7 p.m. You can find us at the following address: Jennartstraat 46, 1080 Sint-Jans-Molenbeek, Brussels.
Lichen is a prize for emerging curators, established by Jester (former FLACC/CIAP) and the department of Curatorial Studies at KASK School of Arts to foster and support curatorial experimentation in Belgium. With the support of the Flemish Community, the City of Genk, and the Jester members.