Screen print 29,7 x 42,0 cm
Edition of 32
Price 60 EUR
‘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.
a ball of silk fibre on a walnut plinth, 2022
edition of 30
price: 250 EUR
CIAP members: 230 EUR
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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.
publication, edition of 500
72 pages
languages: EN, NL, FR
2022
price 33 EUR, excl. shipping
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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.
ISBN 9789464590609
30 unique copies (+ 10 AP), 2018
clay produced by the artists from locally-gained minestone (sand, water, coal residue), recycled textile pouch
price: 275 EUR
CIAP members: 255 EUR
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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.
Inkjet print 97x97cm, 2007
prijs: 200 EUR
leden: 180 EUR
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