‘Eu era gases puro, ar, espaço vazio, tempo’ (2022). 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. Eu era gases puro, ar, espaço vazio, tempo is the third part of the transformative exhibition ‘Three Tropes for Entropy’, an outcome of the Lichen Curatorial Prize 2021-22. The final gesture of a collective edition 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.
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 installative piece.
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.
Printed in graphite ink, the recto-verso silkscreen by Daniel Steegmann Mangrané shows an excerpt originally coming from Stella do Patrocínio’s oral poetry, defined by her as an act of gabbling. Compulsorily admitted into a mental asylum, Stella do Patrocínio was a maker of poems that were never written down by her but that take 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.
Transparent, reflective ink silkscreen print, paper and match / Inkjet print and magnets / Graphite ink recto-verso silkscreen print. Size of each print: 29,7 x 42,0cm. Printed by Camping Penrose / Liselotte van Daele.
Silkworms are excellent weavers, feeding off mulberry leaves to produce protein fibre that became one of the most sought-after materials in textile history. In only about a week, they can spin a continuous thread of silk of up to 900 meters. Yueer Shen is one of the few silk farmers in Tongxiang (China) who cultivate the tradition of raising silkworms to spin their silk as felt, over flat surfaces. Having invited a few silkworms to spin around a tennis ball, Yueer Shen and Alexis Gautier harvested a series of casts made of silk. The thirty balls vary in colour from white to golden yellow, a natural range depending on silkworms’ species. Each of these tender, yet surprisingly resilient objects is encased in a yellow box designed by the artist. The wooden bottom of each box can be easily transformed into a plinth, or a shelf, on which the work rests – or rather hovers – like a spectre of a sports trophy or a museum artefact.
The edition creates a playful connection between Gautier’s exhibition L’Heure de la Soupe at Museum M in Leuven (running until 20.03.22) and his upcoming project at FLACC/CIAP in Genk (opening on 21.05.22). During the finissage at M on 20.03.22, the artist is going to face his namesake, professional tennis player Alexis Gautier. During that special event, the edition will be ‘launched’ to ‘land’ at FLACC/CIAP’s court later this year.
Mullbery’s weight is a co-production of FLACC/CIAP and Museum M.
Marianne Berenhaut’s (1934, Brussels) diverse practice refuses to be pigeonholed. It expands in all directions, spanning at times tragic, romantic lyricism, critical feminist edge, dada humour, and imaginative juxtapositions worthy of surrealism… and it keeps changing.
Through a curious combination of exhibition images, previously unpublished archival material, and newly-commissioned essays, this book offers a glimpse into the many lives of Marianne Berenhaut’s works. It departs from the specific context of her solo exhibition ‘Mine de rien‘ at CIAP and C-mine in Genk, at the turn of 2021 and 2022, to arrive at different times and places. Whether touring with a theatre group, partaking in a feminist assembly, or turning up in a public park, her works have always been close to daily life, as if coming back to the very places they originated from.
With contributions by Louise Osieka, Barbara Cuglietta, Alicja Melzacka.
Graphic design by Hannah Sakai.
Photography by Michiel De Cleene.
Archival images courtesy of Marianne Berenhaut.
Produced and self-published by CIAP, C-mine and Dvir Gallery.
Today, I am in the process of weaving a ‘book’ object with the work of Alexis Gautier. A slow weaving,… that speaks of a very different tempo, conjuring up a sense of spaciousness and possibility, with the intention not only to encourage other paces of engagement, but also to inspire and imagine the pursuit of a more holistic way of knowing oneself, encountering others, sharing knowledges and experiences, as well as evolving together toward harmonious and resilient forms of living. Editing does not exist through cuts but through movement, slow movement in which time becomes space and space becomes time. An arrow’s time, an arrow’s space.
The publication is co-produced by CIAP, Museum M (Leuven) and Track Report (Royal Academy of Fine Arts Antwerp) on the occassion of Gautier’s show at M (17.09.21-20.03.22) and his upcoming project CIAP (May 2022).
The edition departs from the idea of a chaffeuse — a household item used to warm up one’s bed. After being heated up in an oven, the edition can be wrapped up in the pouch and held close to the body to transmit heat. The coal residue present in the bricks accelerates the baking process and accounts for the unique texture of the ceramics. Each piece is unique — if you would like to choose your brick personally, you are welcome to make an appointment and visit us at C-mine.
The publications will be available for shipment by the end of April.
All Thoughts Fly: Monster, Taxonomy, Film is a narrative assemblage of prose and image. At once historical, theoretical and personal, the book continues the authors’ inquiry into the curious presence of taxonomies of monsters at the heart of Early Modern European science. The word ‘monster’ comes from the Latin ‘monstrare’, meaning ‘to show’, ‘to demonstrate’, ‘to reveal’. Picking up on this etymology, the authors explore monsters as prisms for modes of seeing and deciphering the natural world. When treated as perceptual apparatus, the monster also becomes a means of probing the medium of film and its relationship to indexicality, chance, corporeality, and metamorphosis.
This book extends a multimedia project the authors began with their film A Demonstration (2020). The film’s underlying modular formal structure is here reconfigured and brought into new relations specific to the book as a medium. The book is designed by Christophe Clarijs, co-produced by CIAP, and published by Sonic Acts – an interdisciplinary art organisation based in Amsterdam.