Теги

/77 1.1 16 Nicholson Street 63rd-77th STEPS 427 820Plaza 1301PE 2015 2016 2017 2018 :Skala AALA Gallery Aapo Nikkanen Abby Lloyd Adam Stamp Adriana Ramić Adrian Hidalgo Adult After Howl Agata Ingarden Agatha Valkyrie Ice Age of Aquarius Aia Sofia Turan Ala Dehghan Albert Baronian Albin Looström Alejandra Muñoz Alessandro Di Pietro Alessandro Moroder Alexander Kutovoi Alexander Plusnin Alexander Poliček Alexandra Metcalf Alex Ito Alex Rathbone Alex Stoddard Alfred Boman Aline Bouvy Aline Sofie Rainer Alison Veit Alison Yip Alix Brandenbourger Almanac Alyssa Davis A Maior Amalia Ulman American Medium Amna Asghar Amsterdam Anastasia Bay Anastasia Jermolaewa Andrew Birk Andrés Ramirez Andy Kincaid Andy Meerow Angelique Aubrit Aniara Omann Annabelle Arlie Anna Fehr Anna Holtz Anna Mikkola Anna Orłowska Anna Slama Anna Solal Anna Uddenberg Anna Weile Kjær Anne de Boer Ann Hirsch Antoine Donzeaud Antoine Renard Anton Vidokle Arcangelo Costanzo Argentina Ari Sariannidis Armada Arseniy Zhilyaev Asbjørn Skou ASHES/ASHES Ashley Holmes Assembly Point Atelier W Athena Papadopoulos Athens Atlanta Aude Pariset Augustas Serapinas Australia Austria Autocorrect Baltic Triennial Baltimore Barcelona Barro Basel Basel Abbas BB5000 Bedwyr Williams Belgium Benedikte Bjerre Benjamin Husson Berk Cakmakci Berlin Beth Collar Birsfelden Bistro 21 Black Hole Generation BLOCKEDART Blue Stork bluntxskensved Bodega Body by Body Bombon Projects Bonita Bub Bora Akinciturk Botond Keresztesi BQ Brad Downey Bradford Hurst Kessler Bradford Kessler Brno Brussels Bryan Dooley BSMNT Bucharest Budapest Buenos Aires Burkut Kum BWA Zielona Góra CAC Caley Feeney Camille Blatrix Camille Kaiser Camillo Grewe Canada Capsule Carl Mannov Carlos / Ishikawa Carl Palm Catbox Contemporary Catherine Biocca CCI Fabrika Cell Project Space Center Red Cezary Poniatowski CHANGE-CHANGE Christian Jeppsson Christina Gigliotti Christine Navin Christopher Kulendran Thomas CIAP City Surfer Office Claire L. Evans Claire van Lubeek Clearview.Ltd Clemence de La Tour du Pin Clovis XV Cluj-Napoca Colin Foster Cologne Columbus Conor O’Shea Consume Cool COOPER COLE Copenhagen Cordova Core.Pan Croatia Croy Nielsen Czech Republic Cécile B. Evans Cédric Fargues Daniel Lie Data Rhei DEBO EILERS Deborah Bowmann Delta studio Denis Koshkarev Denmark Dennis Witkin Derek Di Fabio De Vishal Dickon Drury Ditte Gantriis Domenico de Chirico Dominic Dispirito Dominic Samsworth Dominic Wood Dominika Olszowy Dominik Sittig Donnie Fredericks Doris Guo Dorota Gaweda Dozie Kanu Drazen Dukat DRTHRDWR Dublin Eco Futurism Corporation Ed Fornieles Edin Zenun Egle Kulbokaite Elektrozavod Elise By Olsen Elizabeth Englander Ellis King Eloise Bonneviot Elvia Wilk Emalin Emiliano Aversa Emily Jones Emma Hazen Emma Soucek Emma Stern Enclave Enrico Boccioletti Enterprise Projects Erdem Cetrez Eric Baudart Eric Veit Erik Niedling Esben Weile Kjær Essen Etablissement d’en face Et al. etc. Ethan Assouline Ethnographical Museum of Istria Eva L’Hoest Eva Presenhuber Evita Vasiljeva Exgirlfriend EXILE Exo Exo Fanfare Felix Kultau Fenêtreproject Fernando Palma Fiebach Minninger Filip Dvořák Filippo De Marchi Finland Fiona Vilmer Flaka Haliti Florian Sumi Folkert de Jong Fondazione Baruchello Fondazione Pini FOOTHOLD France Francesca Burattelli Francesco Saverio Costanzo Francis Raynaud Francisverein Frankfurt Frankfurt am Main Frederik Exner Carstens Freiburg Fritz Schiffers Frutta FuturDome Future Gallery Gabriele De Santis Gaile Pranckunaite Galerie Albert Baronian Galerie Antoine Levi Galerie Derouillon Galerie Escougnou-Cetraro Galerie Jeanroch Dard Galerie Meyer Kainer Galerie Tobias Naehring Galleri Opdahl Garden Gem Tree George Crîngaşu Germany Gern en Regalia Giada Carnevale Gina Folly Ginny Projects Gioia di Girolamo Giovanni Riggio Giulio Scalisi Glasgow Glassbox Centre d’Art GOLD + BETON Good Enough Good Weather Gothenburg Greece Gregoire Bergeret Grønttorvet Guendalina Cerruti Guglielmo Castelli Guillaume Roux Gunnar Tchida Guy Church Gärtnergasse Haarlem Hamburg Hanna Umin Hanne Lippard Hany Armanious Harm van den Dorpel Harry Sanderson Hasselt Heath Bunting Hekla Helin Sahin Helsinki Henrik Plenge Jakobsen Hikarie 8 Holiday Forever Holly Childs Horizont Gallery Hotel Art House of Egorn House of Gaga Huey Crowley Hungary HUNT KASTNER Hypercorps Iain Ball Ian Swanson Igor Ponosov Ilaria Vinci Il Colorificio Ilya Smirnov Interior and the collectors Interstate Projects Ireland Irena Jurek Isaac Lythgoe Isabella Rodriguez ISSMAG Istanbul It's Our Playground Italy Ivana Bašić Ivan Divanto Ivan Gorshkov Ivan Pérard Iza Tarasewicz Jaakko Pallasvuo Jack Goldstein Jakub Choma Jakub Hošek Jakub Jansa Jala Wahid Jana Zaharijević Jan Dirk Adams Jan S. Hansen Japan Jenna Sutela Jes Fan Jesper Christoffersen Jessica Friedman Jibril Esposito Jimmy’s Joachim Coucke Jocelyn Villemont Joel Dean Joeri Bosma Joe Speier Joey Holder Johan Berggren Gallery Johanna Klingler Johnny Stanish Jonathan Boutefeu Jonathan Penca Josep Maynou Joshua Evan Joshua Höareau Joshua Petherick Julian-Jakob Kneer Julien Saudubray Julius Heinemann Jupiter Woods Jura Shust Jure Kastelic Just Married K. Moos Kah Bee Chow Kalle Lindmark Kamil #2 Kapper Creations Kari Altmann Karine Fauchard Karlin Studios Karlsruhe Kaspars Groševs Katrina Fimmel Kaya Kay Fiskers Plads Keiu Krikmann KERSTIN BRÄTSCH Kevin Space kim? Kimberly Klark Kim Richard Adler Mejdahl Kinga Kielczynska Kira Scerbin Kitty Kraus Klara Vincent Novotna KOENIG2 Koji Ryui Komplot Konstantina Katrakazou Kortrijk Kosovo Kraupa-Tuskany Zeidler Krysí Díra Kunsthalle Basel Kunstverein Freiburg Kunstverein St. Pauli Kévin Bray LambdaLambdaLambda Lara Joy Evans Latvia Laura Gozlan Laura Hinrichsmeyer Laura Schawelka Lauren Coullard Laure Prouvost Laurids Oder Lausanne Leicester Leipzig Lewis Teague Wright Liam Crockard Libby Rothfeld Liebaert Projects LIFE SPORT Liga Spunde Like A Little Disaster Lillian Paige Walton Lily Robert Lina Hermsdorf Lisa Chukhlantseva Lisa Radon Lisa Tiemann Lithuania Lock Up International Loggia London Loney Abrams Los Angeles Lubov Luca Francesconi Lucia Leuci Lucrezia Galeotti Ludovic Beillard Lyon Līva Rutmane Macao Magenta Plains Maiken Bent Maison Grégoire Maison Salvan Malmö Malta Malta Contemporary Art Malte Zenses Manuel Scheiwiller Marco Giordano Marek Delong Maria Cozma Maria Gorodeckaya Marian Luft Marianne Vierø Maria Pasenau Marius Mathisrud Marlborough Contemporary Marlie Mul Marsèlleria Marta Strazicic Marthe Ramm Fortun Martin Belou Martin Kohout Martin Lukáč Massimo Vaschetto Mateusz Choróbski Mateusz Sadowski Mathew Mathias & Mathias Mathias Sæderup Matias Kiil Matt Antoniak Matteo Liberi Matteo Mottin Matthieu Haberard Maurizio Vicere Vice Maximilian Schmoetzer Max Kolten Maya Ben David Mental Space Messgewand Mexico City Meеt Factory Michael Assiff Michael Bussell Michael Jones McKean Michele Gabriele Mihai Iepure-Gorski Milan Minneapolis MINT Mirak Jamal MMK Frankfurt am Main MMOMA Modern Art Mohammed Abd Alwasi Mon Chéri Monia Ben Hamouda Monika Stricker Montreal Moscow Mosor Munich mylasher MÉLANGE Nadim Samman Namsal Siedlecki Natalia Jordanova Natalya Serkova Natalya Timofeeva Natalya Zintsova Native Alienz Nazım Ünal Yılmaz Netherlands Nevan Contempo New Galerie New scenario New York Nick Zhu Nicolas Deshayes Nicolas Pelzer Nicolaysen Art Museum Nicole Colombo Niklas Binzberger Nik Timková Nina Beier Nina Kettiger Noplace Gallery Norman Orro North Little Rock Norway Noëmi Merca NSFW Nuno Patrício OJ Okan Yildirim Olga Balema Olga Evangelidou Olga Fedorova Oliver Laric Oliver Osborne Olivia Erlanger Olve Sande Omsk Social Club Ondine Vinao Oostende Or Nothing Oslo Oslo10 Ostrava Owen Thackeray P/////AKT Pakui Hardware Pane Project Pantin Paris Parker Bright Parker Ito Parter Patricia L Boyd Paul Barsch Pazin Peles Empire Penny Rafferty Pepo Salazar Pescara Philippe Van Wolputte Pierre Clement Pina Pinar Marul Plan5 PLATO Ostrava Podium Poland Polansky Gallery Polignano a Mare Pop/off/art Portikus Portugal Poznań Ppromotion Prague Princess Prishtina Radek Brousil Rade Petrasevic Raphaela Vogel Raphael Krome Rashid Uri Raul Altosaar Rebecca Ackroyd Rennes Ricardo Passaporte Richard Healy Riga Rindon Johnson Riss(e) Robert Brambora Roel Van Der Linden Rolf Nowotny & Uma Vinterbarn Nowotny Romania Rome Room E-10 27 Rotterdam Roubaix Ruanne Abou–Rahme Russia Rūtenė Merkliopaitė Sabine Kongsted SABOT Sadie Halie Projects SALTS Sam Ekwurtzel Samuel Linus Groman Sanatorium Sandwich San Francisco Sans titre (2016) Scotland Seoul Sessa Englund Shahryar Nashat Shana Sadeghi-Ray Shawne Michaelain Holloway Shoot The Lobster SIC Silicon Malley Siliqoon Simon Davenport Simone Subal Gallery Simon Rayssac Skulpturinstitut Something Must Break Songs for Presidents Sophia Belkin Sorbus South Korea SOYUZ Spain Springsteen sstmrt Standpoint Stavanger Stefanie Hessler Stephanie Hier Stockholm Sultana Super Sven Loven Svetlana gallery Sweden Switzerland SwS Sydney Sylbee Kim T-Space T293 Tabita Rezaire TARWUK Tatiana Defraine Tchelet Weisstub Tenderpixel The beautiful Erah The Garden The Mycological Twist Theodore Darst The Others art fair The Wattis Institute Thilo Jenssen Thomas Macker Thor Tao Hansen Théo Demans TIC Gallery Tilman Hornig Tim Hartmann Toke Flyvholm Tokyo Tom & Arthur Tom Forkin Tommy Krek Sveningsson Tom Volkaert Toronto Treti Galaxie Turin Turkey Two Queens TXT UK Ulijona Odišarija Ultrastudio Union Pacific US Valentin Valinia Svoronou Valletta Vasilis Papageorgiou VCSI Via Art Gallery Victoria Haynes Victor Lizana Vie D'ange Vienna Viktor Timofeev Vilnius Vincent Lorge Vin Vin Viseu Vitaly Bezpalov Voidoid Archive Voronezh Walter Pfeiffer Warsaw White Crypt Wickerham & Lomax Wild Flower William Knaack William Sheridan Will Pollard Xavier Mary Yamuna Forzani Yannick Val Gesto YGRG Yi Xin Tong Yngvild Sæter Yuri Pattison Yutie Lee Yves-Michele Saß Zielona Góra ZKM Zoe Williams Zoë Field Zurich Īrisa Erbse Śmierć Człowieka
'The Future of Not Working' by Aline Bouvy at CIAP, Hasselt - Tzvetnik
5230
portfolio_page-template-default,single,single-portfolio_page,postid-5230,ajax_fade,page_not_loaded,,select-theme-ver-3.4,side_area_slide_with_content,wpb-js-composer js-comp-ver-5.2,vc_responsive

‘The Future of Not Working’ by Aline Bouvy at CIAP, Hasselt

Louise Osieka: It has been clear from the past that the titles of your exhibitions have been elements that gave direction and support to your work. Not only because they refer to a specific context content-wise but also because of their linguistic nature. Could you speak to this in the context of the The Future of Not Working

Aline Bouvy: Earlier this year, I came across an article in The New York Times about an experimental project by GiveDirectly in a small village in Kenya whose inhabitants were given monthly income for a period of 12 years A first, I was intrigued by the somehow provocative twist of the article’s title: The future of not working. Was this title suggesting that people wouldn’t have or want to work at all? Was it the idea of a ‘not working’ future versus the vision of a future of total (human) inactivity? The content and implications of this article have had a great impact on me. I particularly liked the passage when the author tells about all these charities that don’t want to just give cash to people in need, but think it helps them more to provide them with goods as if ‘the poor’ wouldn’t know what’s best for them or couldn’t handle money by themselves. I like that it questions the fish story: “If you give a man a fish, he’ll eat a day, if you learn him how to fish…” The whole ‘taking-you-by-the-hand’ thing, because ‘you’ don’t know but ‘we’ will teach you. This brings us to these big rhetorical gaps; these abysses in daily language that keep shrinking our narratives and our visions about other possible ways of doing and dealing with ourselves and others. It raises a lot of thoughts about the word ‘work’ and it’s interesting to think of the idea of work in relation to the practice of art as well. 

LO: How do you experience the position of the artist in this debate? 

AB: I find it puzzling that on one hand the state-funded educational system offers many opportunities for young people to get involved in art programmes, while on the other hand, once you have your MA you are completely left on your own with a very vague status that doesn’t function. What comes into play is a division between those who can afford to live off personal welfare and those who will have to get by through other ways. Although the Arts at large can rely on state funding, for many it remains a privilege to access the possibility of developing a full-time practice. Here, I use the term ‘practice’ in a very general sense, even beyond the Arts. Our societies like to push forward ideas of innovation, but when you finally come up with something really new—which means something that also carries new referents outside of any known
scheme suddenly you’ll notice these same societies quickly drawing back to traditional and obsolete systems. The concept of a universal basic income is the most exciting thing I have come across in years. It’s not an unemployment benefit; it’s that very minimal ‘plus’ for everyone to pursuit their personal development. It offers the possibility for true invention. 

LO: The exhibition opens with a powerful sculpture. It’s a round bread that acquired its black colour due to the addition of coal to the dough. In the middle, the dough pulls together as a closing muscle. It sets the tone for a layered exhibition permeated with symbols. You undermine the dominant power structures of our society, while making your critical voice ‘digestible’ for the viewer through abstraction, multiplication and parody. 

AB: I’m trying to work something out here. The context of CIAP, the former activities that this building has had, and still seems to exude from every pores of the walls. It’s a place of power, of decision-making, of exhausting administrative processes. It has a certain grandeur, but at the same time it’s slowly running down. I guess these features have had a great impact on my working process for this exhibition, or at least I have let those elements develop in a strange, almost fantastical way. Sometimes I see the works as a combination of fairy-tales props and a rebus puzzle. It’s interesting, for instance, how charcoal becomes trendy today in organic and well-being food, even if it’s been fucking up generations of miner’s lungs. Some use it as a natural way to ease stomach pain and bad digestion. I prefer its vomiting effects: it’s used as an emergency treatment for certain kinds of severe poisoning and OD’s. I like that it’s presented here in the shape of a large, family-size bread we could eat of all together, while expelling all the possible mad-driving toxins. The idea of letting go, of fluidity, of opening the valves, a joyful communal diarrhea prompted me to ask the baker how we could form a sort of orifice in the bread. He folded his arm and pushed his elbow far in the middle of the fresh dough. It was a beautiful gesture. 

LO: You are a polyglot who was raised in Luxembourg in a three-lingual environment (Lux, German, Spanish). Later, you also learned Dutch, French and English. This language sensitivity seems to be a red thread throughout your artistic practice. This exhibition also features a complex network of linguistic references. Can you point them out and indicate how they lend meaning to the whole? 

AB: I guess that this comes from a way of approaching meaning through mental association—a method that is reinforced by the fact that I continuously switch languages. It’s like you automatically scan the words in these languages and perceive their linguistic spectrum. I’m actually thinking of the word Kohle in German, it’s strange really, I instantly think of Christiane F. because in the book, Kohle is a big deal, ‘Kohle anschaffen’, ‘Hast du Kohle dabei ?’, ‘Keine Kohle!’,… I was fourteen when my parents came home with the book one day. I probably read it in German about three times in a row. The same word in French or in Spanish, my 2 native languages, immediately bring up violent images of my grandmother’s stories about her life as a miner’s daughter in northern Spain from the thirties to her arrival in the early sixties in a bus at Brussels’ Gare du Midi. She left my mother behind with her uncle because she thought she was not going to be able to work and take care of her at the same time. While they were separated, without seeing each other for more than six years, my grandmother’s first job was to take care of rich Italian family’s kids. She was living with them for several years as their nanny and housekeeper, or gouvernante in French. I associate CIAP with the image of a gouverneur, his private apartments being under the same roof. And yes, it’s funny, or rather strange, that a same word sometimes dramatically changes its meaning by being male or female. Le gouverneur rules a province, a state, a colony, la gouvernante cleans, cooks, takes care of kids in a house, a family, that isn’t hers. 

LO: To stay with the subject of automation replacing human labour: it seems some of your work in the exhibition refers to the dematerialisation of labour and thus economics and money. You bring together discarded raw materials (coal) and tools (ATM machine) in a space where a guillotine-like sculpture seems to chop off a black tongue. Just like the weed, stray dogs and urine, they are the waste elements of our society. Meanwhile, the coal is considered to be ‘dirty’ and ATM machines will soon follow. You don’t bring these elements up for nostalgic or formalistic reasons, but you seem to bring them back to the realm of the norm. 

AB: It’s interesting that you make a parallel between the stray dogs, the wild weeds, and the ATM machines. I don’t know; it’s a device that is present in my daily environment, which I use a few times a week. In some places in Brussels, you should see the state in which some ATM machines are left behind: a total mess, an extreme vision of violence. When you go to cleaner parts of the city, the cleanness is just as violent. These ATM machines are the last stage before the digital payments happen through smartphones. Those that are produced now are the last ones. Like with the telephone cabins, they will totally disappear in a few years time. There are a lot of things you could do in telephone cabins. Like hiding from the rain. There are a lot of things that people do in cash dispensers. There are less and less ways to make your space in public space. 

Sometimes I feel there are some muscles in my right hand that hurt and that I’ve never felt before. It’s from manipulating my phone. It’s from making my space in public space. 

LO: In the antechamber a series of six keys are lying on the floor. Each key represents a different skin tone that matches an existing emoticon skin tone. The baseline of the opened hand on the mirror reads as a prayer, an open question. Is the key to success accessible to all? 

AB: I found that key in the shop window opposite the baker where I did the charcoal bread. It’s a small shop that sells DIY stuff in de Alsembergsesteenweg. I asked the shop owner if I could borrow the key for a couple of days to make a silicone mould. I had yellow pigment for Jesmonite that I intended using for a figurine. I wanted the figurine to be yellow, like the yellow of generic emoticons. I wanted to make a derivation of that same figurine in the different skin tones that you can select when you don’t want to use the generic yellow emoticon—like when you want to customize your emoji’s skin colour, or just don’t like yellow because it makes you look like a Simpson or suffering from jaundice. In between the different skin tones, I made a yellow key and I thought: “I’m going to make that object in all available skin tones rather than the figurine”. Later I read that those skin tones are based on the Fitzpatrick scale, a numerical classification scheme for human skin colour. It’s been introduced to focus on diversity as if you have to identify racially in a simple text message or tweet. 

LO: You use materials and media according to the idea that you have in mind. This makes your artistic practice very diverse. Nevertheless, it is striking that the lion’s share of the presented work is conceived with Jesmonite, a composite construction product invented by Peter Hawkins in 1984 as a safe alternative to fiber optics and a lighter variant of cast concrete. What draws you to this material? 

AB: Jesmonite is the natural alternative for resin. It’s like a white powder made out of stone that you mix with a sort of acryl. You apply one plain layer, then 2 or 3 layers with fiber glass. This allows for big formats that can remain hollow and not too heavy. It’s been invented for prop making and stage design in cinema and theatre. The general aspect is like plaster or gypsum, a slightly bit rosé in a general off-white. I certainly like the blankness of the non-pigmented Jesmonite casts. I like to throw whatever is on my way on a rough earth base, make a silicon mould and then cast it in blank Jesmonite. It’s a great unifier that puts every material, object, or device on the same level. I like to finish off my casts with a bit of natural wax that I gently polish with a shoe brush or an old sock. It lets a cigarette butt shine as much as a coin or a pearl. 

Interview by Louise Osieka (05.06.2017) 

 .

11.6.17 — 27.8.17

.

Curated by Louise Osieka

.

CIAP

.