Lexicographies [Ibraac in][1] But,Définir l’essai : définir un genre ? Sujet à discussions, la définition de ce genre est incertaine, contradictoire, voire impossible. Et pourtant. Really, post-production is the best time of your life.Et pourtant, son invocation qualifie une série d’écrits dont l’objet, exercice de pensée, déplace plus l’interrogation elle-même qu’il ne propose une réponse. Displacement. Post-production of your life, really, is the best time.Cependant, singulièrement, un pluriel hante cette transmission, selon une filiation expliciteselon un écart et un imaginaire signifiant d’emblée ce genre et une écriture. Se profile ainsi une possibilité paradoxale de jointure entre une figure, celle d’un « c’est moi que je peins », une écriture singulière, un nom propre, Montaigne, qui précède l’égoïté supposée du « je pense » moderne. Essai de « peindre je », comme un « c’est moi que je ». Really : « to drawn I » like a « It’s me that I » is the best post-production of your life time. However surprise.Le multiple de ce pluriel paradoxal disperse. Cette qualité, la dispersion, Montaigne ne l’invente pas, il la trouve, séduisante, chez Plutarque qui « … aime à couper ses raisonnements d’images, de citations, d’anecdotes, atteignant ainsi à une plasticité qui porte mieux que l’idée. Il recourt à la dispersion plutôt qu’à la concentration, … »,  so said Hugo Friedrich.Curieuse jointure : Really, your life is post-production of the best time out of join. The best, perhaps : just an ‘out of joint’.[2]Hugo Friedrich, Montaigne, Paris, Gallimard, 1968, p. 84.

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The One Minutes began in The Netherlands in 1998 on a small scale and it has developed into a mini world- wide movement with participants from about eighty countries. From the year 2000 onwards there have been annual awards for the best movies. In 2001 a beginning was made with the JUNIOR The One Minutes, a collaboration with the European Cultural Foundation (ECF) and UNICEF. Also in 2001 the first workshop was given about the making of One Minutes in China. After that workshops were organized in about thirty countries. In 2003 the Biennale of The One Minutes was held in Utrecht’s Central Museum. The first workshop in Africa took place in 2003. The Award winning ceremony took place in Xiamen, China, in 2005. 

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MOBAC is a totally new and innovative mobile exhibition space conceived to allow contemporary art to be seen in a coach.MOBAC is a project which is open to all in a space which literally moves throughout the city. MOBAC rethinks the mode of exhibiting art and offers a new artistic experience. People are no longer required to go to the art centre but can appreciate art in their own environment in a recognisable mobile space which provides an unexpected content.MOBAC is a constantly evolving urban art space which can be seen in different places.

"idiosyncratics"concert 

2006, screening, digi beta, 16:9, 05’.“The world of the adult could not show their most enchanting desires, therefore we created our own ones!”A bizarre, obscure fairy tale imparting brutality and beauty of little girls as they encounter bewitched boys in gloomy woods. Blank-faced these girls disappear in a carriage drawn by beautiful little boys. As they reach their destination, the game of seduction repents in a bitter way. The film reveals oppressive sides of the love of life, sweet and bitter like marzipan. 

“Toppled” is a slideshow lecture comprised of a selection of approximately 400 images found on the Internet of the statues of Saddam Hussein. From these images several storylines emerge: the statues’ transformation from manifestations of Saddam’s totalitarian power into icons for the defeat of his regime, their desecration and humiliation, their expulsion from the public sphere, their appropriation into his enemies’ museums, their symbolic reinterpretation for use in anti-war protests. Also examined is the self-styled iconography created by Saddam Hussein during his regime and the manipulation of his image in the media following his downfall. Through viewing these images it also becomes apparent that even in our modern image culture the ancient mystical link between the person (Saddam) and his representation (statue) is still alive in the human psyche.

2007, live streaming video performance.In one of the bedrooms of a rendez-vous hotel, Hôtel Berger, a man is sitting or wandering around his empty bed, seemingly waiting for something or someone. A live streaming of this performance is screened in a room of a similar hotel nearby, Hôtel Noailles, which unlike the former is no longer in use for its original purpose. A single chair is placed in front of the projection for one viewing at a time thereby allowing for an individual experience.

2007, installation, mixed media.

“Appearance 100807” is a plastic film installation on the Mobile Institute’s building facade. 

It is understood as a thin partition separating and merging interior and exterior dimensions simultaneously, linking two inter-dependent worlds (“The unspeakable” by Samuel Beckett). How can this indescribable and imperceptible veil give life to these entities, a constantly changing, inhaling and exhaling, form? 

Wild StyleFrom Wikipedia, the free encyclopediaFor other uses, see Wild Style (disambiguation).Wild style is a complicated and intricate form of graffiti. Due to its complexity, it is often very hard to read for people who are not familiar with it. Usually, this form of graffiti incorporates interwoven and overlapping letters and shapes. It may include arrows, spikes, and other decorative elements depending on the technique used. The numerous layers and shapes make this style extremely difficult to produce homogeneously, which is why developing an original style in this field is seen as one of the greatest artistic challenges to a graffiti writer. Wild style pieces are also known as «burners», meaning «hot» as fire. Wild styles are seen as one of most complicated and difficult tags often used to get an artist’s work seen (rather than to put a political message or any other message across)The original pioneers of wild style were Tracy 168 and Stay High 149, and later such notables as Zephyr advanced the highly personalized styleHelveticaFrom Wikipedia, the free encyclopediaThis article is about the Helvetica typeface. For the Confederation Helvetica, see Switzerland.For the documentary, see Helvetica (film).Helvetica is the name of a widely used sans-serif typeface developed in 1957 by Swiss graphic designer Max Miedinger.Director Gary Hustwit has produced a documentary on Helvetica, simply called Helvetica. It was released in 2007 to coincide with the fiftieth anniversary of the typeface’s introduction. In the film, graphic designer Wim Crouwel says, « Helvetica was a real step from the 19th Century typeface. … We were impressed by that because it was more neutral, and neutralism was a word that we loved. It should be neutral. It shouldn’t have a meaning in itself. The meaning is in the content of the text and not in the typeface.»

2007, video installation,PAL, color video / stereo sound, 04’50’’A monologue is spoken in an audition, exploring the boundaries of remembering and telling, and questioning the balance between the perception of reality and the reality of perception.

2006, video installation, 8’The video depicts a hand exploring a white wall. A finger starts to make an opening in the wall, which in turn becomes bigger and bigger until the camera enters into another room. The sound is produced by the hand at work on the wall’s texture.

2007, video installation.In the wall of an exhibition room a drilled hole opens onto the adjacent room. A sheet of Plexiglas is placed in the opening. The adjacent room is filled with artificial smoke on which the “lokaal 01” film is projected. This small film stems from a montage in which two identical men displace black panels in an empty space with a stained, cemented floor. The characters move the panels around, trying out different positions, hesitating, doubting, replacing, and portraying a sense of indecision. “I use the twin model to evoke a conflict within the artist himself and his characters”, says Hans Wuyts, “By copying myself I’m able to observe the making of each artwork”.

2006, video installation.For the videowork «Nature is a Whore», I asked a middle-aged porn actress to try to seduce a tree. The actress has an artificially modified body, with several breasts (and other) implants.I gave her some rudimentary guidelines about the concept and let her improvise on it.The improvisation brings an awkward quality to the video which is intentional. The work is an experimental take on the ecological hype. Human nature is artificial and thus alienates it from its natural surroundings. The pursuit of modern man to try to live in harmony with nature only leads to parody and aberration.

2005, video installation, DV, 5’30’’Sitting on her bed, a woman reads letters she has written before she gradually enters a state of delirium.

2007, dia projection installation.“On three, I clear off” is a ground projection of three white lines in the middle of the street, a reference to an unfinished pedestrian crossing.

2007, site specific painting installation.During my stay at the Mobile Institute I developed three different projects. I was captivated by the way the plinths and doorframes formed an uninterrupted line throughout the hotel Noailles and how this line was punctuated by rectangular areas of the same colour. My first approach was to fill the space by painting the plinths and doorframes, alternating them from black to white, thus creating change in time and space.

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lecture.Expodium, podium for “young” art, stimulates, produces and presents the latest developments in contemporary art. Expodium launches budding artists by giving them an opportunity to respond to vital urban developments. Luc Janssens and Bart Witte provide the day-to-day management of Expodium and guide its programme content. They are assisted by a number of staff and volunteers, an advisory committee and an external Board of Directors. Expodium focuses primarily on producing exhibitions with young artists. The latter are confronted with a theme challenging them to reflect on social change and the corresponding role played by visual arts. This encourages the development of visual arts by young artists. The exhibitions are the visual expression of investigations on urban development. In particular, the rejuvenation of the Utrecht Hoog Catharijne shopping centre which is envisaged in the coming years. This will be carried out by artists in close collaboration with Expodium. Expodium goes beyond art academies’ educational programmes. The curriculum focuses primarily on developing techniques and creative thought processes specific to their own projects. However, it challenges artists by inciting them to look first at social developments before engaging in their work.

lecture.There’s a need to concentrate the work, close it off from everything that lies around it so as to ensure more control of the work. This control instigated by certain rules is often illustrated in the work and acts as a limitation or a border, isolating the work. This can, for example, be a drawing placed in a book as a metaphorical reference to a closed room in which the border is suggested. The walls, either real or fictitious, surround the work, simultaneously protecting and stifling it. The viewer feels alienated to the architect’s world due to the strangeness applied to it. Objects are found, collected, combined, transformed and constructed into an art form by the architect. Of course, he is influenced by the world which surrounds him: his personal history, that of others, the things he learns, the mistakes he makes, the people he meets, all provide him with a frame of reference.

| | | | | | | | | | | | . | | | | | | | | | | | | | | | | | | | | | | | | | | | | | | | | . | | | | | | | | | | | | | | | | | | | | | | . | | | | | | | | | | | | . | | | | | | | | | | | | | | | | | | | | | | | | | | | | | | | | .

2006, Video installation in collaboration with Leon Vranken, DVD, 12’.The video shows a picture of a wall that slowly gets infested.At first a spot appears and as the surface consumes itself it transforms into a powder whirl.

2007, performance.Friday night - Hôtel Noailles:  lectures, performances, concerts, drinks, food, and of course people. It is crowded. A girl in a green dress takes part in these events. She smokes, drinks, chats and wanders around.  Another girl, dressed in a very similar way, also attends these events; she is also smoking, drinking, joining in all conversation and simultaneously wandering around. Each and every movement is acted similarly and at the same moment as the first girl, though never too far nor too close from the other. Do they know each other? Do they know about each other?Yet they seemingly keep the same distance or regard of one another, like two vectors in a geometrical setting.

2007, neon light installation. installation of three mobile light cells (3x2 neon)

2007, video installation.« 137 » is about fiction and documentary, reconstruction and re-interpretation, about myself and the world, about art and design, about film, language, power, about proportions, nostalgia, time, about my mother, about context, about love and romanticism and about tricks.

2007, site specific painting installation.(p 60 - 61...)From a desire to empty space, the second project consisted of turning a room into a spacious sketchbook.

screening.1.Yves Ackermann, «Prototype» (2’07")2. Zhenchen Liu, «Under construction» (9’55")3. Guillaume Meigneux, «L’agnosie visuelle» (20’12")4. Laetitia Legros, «Entre un oeil et l’autre» (12’31")5. Damien Manivel, «Viril» (9’19") 6. Clément Cogitore, «Visités» (18’)7. Momoko Seto, «Paris plage» (29’)8. Bertrand Dezoteux, «Roubaix 3000» (9’)9. Amel El Kamel, «Entre nos mains» (13’)

lecture.The contemporary art scene is booming. However, little media support is available for emerging artists in this fast changing field. Code magazine intends to fill the gap by offering a platform for the young contemporary creation and its actors. Code is a free magazine published by a group of curators. It aims at introducing new forms of expression as well as to raise the interest of the public for an exciting and innovating culture.Code believes that art is often nourished by everyday life, widening the aesthetic experience of the environment as well as renewing our philosophical and political views. The articles published in our magazine discuss the concerns of the emerging art scene and try to stimulate a new perspective of the world. In a society where the marketplace too often dictates its rules, Code Magazine, in both form and content, wants to reaffirm an art of living in which utopia inspires reality.

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lecture + screening.Cologne Online Film Festival was inititated by Agricola de Cologne for VideoChannel in the framework of [NewMediaArtProjectNetwork] : Cologne, a further development of VideoChannel and its video collections on the theme of "memory & identity"."Identityscapes" deals with identity as a form of wide, colourful internal landscapes, precious in richness and necessary for survival.40 selected artists gave a surprising view on human identity. 1. Unnur A. Einarsdottir (Iceland)«Toilet» (2005), 2. Alla girik and Oksana Shatalova (Kazakhstan)«Warning! Women», (2005), 3’12’’3. Ane lan (Norway)«Ane Lan», 2’50’’

sound performance.A basis frequency of 25Hz buzzes perceptibly at the lower levels of ocular flicker-fusion. Provided with a line pressure of 220-volts, the transformers wind through their various step-up and step-down induction procedures whilst their resistance to power leaves them heated, angry, heavy. Tactile digits engage in their manipulations sending forth a cloud of psycho-sexual frustrations, revelations, computations. This emotional storm zapping to the positive but perpetually shifting ground plane, dangerously floating above the mains, modulated by half a century of shoddy workmanship, and neutralized by a sea of self-induced noise. Noise: as one moves close enough to the source, the brain ceases her usual narration, the eyes kept busy by a steady steam of waveform rasterization. The cloud feeding-back constantly into the endocrine-system and issuing forth an almost architectural stratagem for survival. To find an end is to find only a constant state of electromechanical flux whose stability lets one slip-out and back into the arms of one entropic embrace and comforting state of continual decay.

2007, video installation.The title of this piece is just a location, a date and time. Just as any other true documentary work could have been. Only this piece is also a hommage to the observer himself. Observation functions as a basis for understanding. But “to observe” is not in its action “to understand”; it is rather what we simply see, without context or judgement…yet.Trying to observe in this way has been for my part an essential condition to create work. A new element for me now is to find (and observe) others that see without a context. Staring as if seeing for the first time, in order to understand more by observing the onlooker who in turn tries to understand through his gaze.

2005, videoinstallation for three screens and soundsystem, DVD, different versions, commissioned by European Biennale of Contemporary Art, Nimes.In cooperation with animal-rights activists, who illegally shot the footage for this installation, I developed this work as a reaction and comparison to Abu Ghraib and Guantanamo. The groundwork / approach for this videowork can be seen in Giorgio Agamben´s book ‘Homo sacer’ (1998), which is a survey of the history of the western democratic state comparing it to an enormous concentration camp in its essence. He sees the modern state as a totalitarian event in the efficient management of naked biological life because contemporary sovereignty is exercised through bio-politics – the control of naked life. According to Agamben, “the power of decree to which concentration camp prisoners are subjected has no legal limitations and constitutes the secret matrix of the modern administrative state.». Three screens show three different edits: (from top to bottom) The first screen concentrates on individual pigs, the center screen focuses on footage shot inside the stalls and the last screen shows the structure of the pig mast. Next to the three screens, extremely loud Death Metal is used to underline and intensify the deathmatch-atmosphere of this artwork and the fundamental questions it raises with the chosen title.

2007, photographs.

ALLES HURENBOXERLADENDIEBEUND DIEDIE FALSCHE BÄRTE TRAGEN

2007, video installation.

The work «Chambre Neuf» deals, like many other works of
the artist, with identity in relationship to time and space. It
suggests a portal to a different way of perceiving ones environment.
Opening doors where one did not know there were doors before, it
provokes the viewer to perceive a sub-reality that lies behind the
conscious one.

2007, video installation.This video with its suggestive title takes us through a couple’s range of emotions, showing moments when words can be rendered obsolete. In this incapability and language limitation the relationship escalates to never ending moments of tension… The addiction to tension in the work simultaneously refers to soap operas in which it finds its source and lengthened manipulation.

2007, live streaming video performance.(p 40 - 41...)A few weeks have gone by. At the Hôtel Berger, the room previously occupied by the man is now occupied by a woman. The bed remains empty. She too is waiting, sitting or standing alternatively. She is dressed up and seems to be expecting someone. Hours pass. The woman falls asleep. Again, a live streaming is screened in the same room of Hôtel Noailles. The same chair, placed in front of the projection, invites individuals to sit down and meet this woman. At the entrance of the room, a man allows them to enter one by one; they are free to stay for as long as they like.

2007, video installation, DVCam, series of 5’ portraits.Royal Institute is a series of family portraits, inspired from the Royal Family, produced with artists and dancers in residence in Brussels at the Mobile Institute. For each portrait the artists posed for five minutes whilst being filmed.

2007, installation, mixed media.08.31.07Extraction of cement, stones, bricks, brass, lead battery with light captor08.13.07Order of new material adapted to acid rock.08.15.07Start of “chisel” program pending insertion sheets.08.18.07The level scanner measures up to a further six layers under the groundwater level. Start of plastothermic phase.08.25.07The biotherm capsule is laid down at level -5. Continue to level -6. 08.31.07Insertion of heat detector at level -8. The equipment detects anomalies.

2007, site specifc painting installation.(p 60 - 61 - 80 - 81...)My third project in rue Keyenveld and rue du Berger. This involved taking pictures of objects I wished to import into my workshop through a work process on form and content. There is an element of continuity and a relational character between the three projects.  

2007, video installation, 15’.During my stay at the ‘rendez-vous’ Hotel Noailles, situated in the Matonge, the African neighbourhood of Brussels, I decided to invite a "Marabout" (African witch-doctor). I called him up, explaining that I had many love problems, which was in fact fictitious. He told me he could cure my problems and we arranged to meet at Hotel Noailles. I secretly videotaped our meeting, hiding the camera in the walls, as these healers will never accept to be filmed. The meeting took about 20 minutes and turned out to be completely unspectacular. He executed a strange ritual and told me there was something stuck in my body causing the (fictional) problems. It became clear very soon that all this was just a money scam, a complete rip-off.This fact raised some interesting ethical questions for me: who was exploiting whom? I exploited him for my work and he exploited me for my money. We were both charlatans, lying to each other, each with his own hidden agenda.Strangely, the following day I was unexpectedly taken ill to hospital suffering from sudden violent pain. There I was examined for two days. However, nothing was found! As a skeptic I can hardly believe this was related to the voodoo-ritual, but it’s a bizarre ending to an otherwise unspectacular encounter.

2007, video installation, HDV pal (minidv), 4:3, 34’.The project consists of 8 people filmed in a room in one take.There seems to exist a Japanese therapy for rich Japanese business men. They pay a large sum of money to destroy an entirely decorated villa, with implements of their own choosing, before returning to their wife and children. One says that this therapy empties the spirit and helps stress to disappear.I believe that destruction without consequence can be enriching.Hotel Noailles was in its former days of glory or notoriety a rendez-vous hotel where one could rent a room for up to an hour. This video installation is based on that concept and made in one of the rooms of the hotel. People from the street were invited to spend up to an hour in this room, they could do everything they wanted within that duration. 

2007, installation, mixed media.  The work uses the transference of an installation from one rendez-vous hotel to another.Fleeting moments of ecstasy contained in these spaces are evoked. By creating a model of  this sort of environment using light emitting threads, outlines of furniture come to life in a fantasmagoric way. Accompanying the installation, a three dimensional animation projection represents a morphing floating body. The soundtrack recorded live at the exhibition opening, stands in opposition to the installation.  

Elle avait écarté les jambes un grand nombre de fois; Elle s’était déshabillée dès qu’un homme avait eu envie d’elle. Allongée tournée levée retournée.Elle aimait son corps pétri et malaxé, avec ou sans jouissance.Il s’était avancé ce jour là. Il faisait froid, le vent titillait ses jambes et le bout de ses seins. Elle était belle.Elle le savait.Il s’était approché. Elle n’avait pas reculé.Il avait des trous dans les dents, un voile dans les yeux.Il voulait un café, pas d’argent, un café.Il ne lui avait pas parlé avant la première gorgée.Et puis après, l’eau chaude avait chauffé sa gorge. Toi, tu fais tout?T’es lesbienne?T’as déjà été impressionnée par la taille d’une bite?T’aime les fessées?On pourrait te pisser dessus?Tu avales?Tu pourrais être 100% anale?L’éjaculation faciale, c’est ok?Tu te branles devant des pornos?Les scénarios ça t’excite?2 mecs ensemble ça t’excite?2 nanas?Tu suces bien? Si tu viens avec moi    je te fais tout   toute la nuit     je bande comme un dieuAttentivement, il avait écouté chacune de ses réponses. Elle avait répondu à tout. Elle était passée devant dans l’escalier. Il voulait voir son cul.Sa petite robe impeccable marquait toutes ses courbes. Hanches ventre fesses.  Ses souliers noirs vernis, ses cheveux blonds dorés, et dans sa culotte, son sexe lisse, fine traînée de poils bien ordonnésLa chambre était vide.La lumière était crue et la moquette rêche.Les murs, nus et crasseux, le matelas par terre, sans drap sans couverture. Elle l’avait regardé.Tout à l’heure, sa culotte s’était mouillée, son bas ventre s’était embrasé, tous ses pores s’étaient dilatés.Elle l’avait regardé. Son sourire troué. Oui Oui Oui Oui.Oui je fais tout Oui je peux tout te faireJ’aime qu’on me pisse dessus, ni trop ni pas assezJ’adore les fessées les doigts au cul  la sodomie c’est quand tu veuxMasturbation éjaculation partout beaucoupJ’avale. Même si c’est aigre même si mon ventre le regrettePorno c’est efficace  je jouis vite bienPrend moi baise moi je te suis Prend moi emporte moi écarte serre tourne retourne crache tes mots ta bave ton foutre plein partout dehors dedansJ’ai faim   j’ai faim   j’ai faim   j’ai faim.Elle avait écarté les jambes un grand nombre de fois;Elle s’était déshabillée dès qu’un homme avait eu envie d’elle. Allongée tournée levée retournée.Cette nuit là, dans les trous de ses dents, elle vit les étoiles.       

2007, wall painting.Yardz, Flash, Doowoop, Dez one, 49 rue Keyenveld, B-1050, Ixelles.

1. Joëlle de la Casinière, «So Happy», 1973, (4’30’’)2. Vincent Meessen, «The Intruder», 2005, (7’26’’)   Messieurs Delmotte:    «Human Traffic Light», 2005, (2’45)3. «Fountain», 2000, (1’36’’)4. «Under the cars», 2001, (1’05’’)    «Turn around», 2001, (2’07’’)   Jacques Lizène:5. «Filmer le bas des murs au cours d’une longue promenade urbaine» 1971, (5’00’’)    «Tentative d’échapper à la surveillance d’une camera», 1971, (1’50’’)6. «Caméra à la hauteur des yeux, du sexe et des pieds», 1971, (4’40’’)7. Michel François, «Auto-portrait contre nature», 2001, (11’52’’)8. Ana Torfs & Jana Sterbak, «Condition», 1995, (7’53’’)9. Charley Case, «(Man walking)», 2004, (2’43’’)

In this lecture I will propose a view on: Why the Pre-Modern high genres of art have returned in the aesthetic language of the XXth century Modernism, a movement that pretended to negate and transcend the dead end art of the past, shaped by and reserved to the church and the aristocratic state. And how, after the failure of the avant-garde social revolution, epitomized by the emergence of the ready made and the destructive and transgressive aesthetics of rupture during the early XXth Century, the aesthetic languages of the recent art forms have absorbed and displayed theself-consciousness of their classical origin and incorporated this in their critical language.

“Cutter_Off” is a noise dissection of a vinyl record. Anatomy: a dissection consists of opening up a body according to a predefined protocol.Geometry: a dissection problem involves cutting up a figure to rearrange the pieces into another given figure. A progressive mix using surgical material connected to a contact microphone.