Thursday, August 8, 2013

Drawing Newspaper #39

Page 16-17
Published by Takeout Drawing
Designed by Workroom

Aug. 2013
Seoul



Takeout Drawing Newspaper #38 Q & A

Questions by Takeout Drawing:

Douglas Park 에게 하는 질문

1: Takeout drawing & museum은 드로잉에 관한 한 문장으로 짓는 미술관 입니다.
Douglas Park의 드로잉 한 문장은

2. 우리는 <세상을 바꾸는 드로잉> 이라는 주제 아래 당신을 초대했다.
(아래 질문 중 선택 가능)
Douglas Park이 “더글라시즘”으로 바꾸려는 세상은 어떤 세상인가요?
Douglas Park에게 세상은 무엇인가요?


3. “더글라시즘”으로 통해 Douglas Park의 일상에는 어떤 변화가 왔나?

4. 이 주제로 서울에서 페스티벌로 개회할 예정인데 다양한 프로그램을 위해 어떤 준비를 하고 있으며, 기대하는 것은 무엇인가요?
 (필요한 싸이트 및 관련내용?)

5. Douglas Park의 선반에는 어떤 책과 음반이 놓여있나? 
(작가에게 영향을 미친 것들, 주제관련, 현재 읽는 책,) 
책, 음반에 관한 추천사 혹은 멘트를 함께 주세요.




Takeout drawing questionnaire

Questions to Douglas Park

1.) What is Art for you?

Opportunity, experience, exchange.  Attempted attainment of potential
from both already existing and newly arisen possibilities, whether and
how that may or might not work, then theres how outcome is — and even
what consequences could actually be, do or cause.

2.) Douglas Park is invited by Takeout Drawing under the theme "Art
which changes the World".

What does the World mean to you?

Instead of only a, the, this or any other world, most probably more a
case of everywhere, wider cosmos and beyond, but including immediate
circumstances.

Or in what way could you change the world with your art?

Perhaps, only by subconscious, unplanned, involuntary, random and
coincidental secret contribution, stealth influence and voodoo spells.

3.) What aspect of your (everyday) life was changed by "Douglasism" so far?

Endless and ever-growing hope, anxiety, excitement and concern.

4.) "Douglasism" will take place in Seoul.  What are your expectations?

In addition to provisional and definite features of this deluxe penal
festive ordeal (to use 1 of my own work’s titles), a constant sense
and presence of the new and unknown.  I have done my best to
familiarize myself with historic, recent and contemporary Korean,
Seoul and Jeju island environment, situation and context (culture,
society, customs and developments etc).  Sadly, I abandoned the
venture of trying to acquire a vocabulary of Korean words to actively
use for speech, writing and reading, because despite being able to
describe the story and mechanics of the Korean Language, I found
myself unable to get my head around it.

What kind of work are you involved in these days for the preparation
of the “Douglasism” festival?

For at least some of my answers to this, please consult my reply to
question 4.  Otherwise, contact, meetings, administration, enquiries,
errands and tasks.  I recently did an audio recording of spoken-word
work, towards a c.d album (thanks to Tom Fox and Keef Winter in London
— using a padded-cell wardrobe!).  At this stage its still unclear to
me about any especially made, adapted and reused work for
“Douglasism”, yet hopefully that will just happen, maybe best or only
left until nearer or during the time anyway.  All whilst somehow
contending with everything else!

5.) What do you read and what music are you listening to these days?

That seemingly means reading matter and music, presumably their
significance to my art, nothing else whatsoever (such as art and
artists — or even non cultural matters of relevance).  Not the best or
most interesting question to ask.  Must be other and better questions.
 Like “which question do you wish to be asked or to ask yourself?” (to
which I would say “what’s the prize?” and “Do I win?”!).  What’s
lacking but needed here in this interrogation quiz?  Unless no
improvement is necessary or possible.



킴킴 갤러리에게 하는 질문
6. “더글라시즘”에 참여한 작가들이 상당히 많고 후원 및 관련 대사관등 협조도 많은 것으로 알고 있다.
이러한 행사를 주최하는데 가장 주요하게 고려된 것은 무엇인가?

참여자들은 현재까지 영국, 벨기에, 프랑스, 독일 등지의 50여 작가, 기관에 이른다.
2013년은 우연히 더글라스 파크의 작가 데뷰 20년 기념을 맞는 해이기도 하다.
서울에서 열리는 더글라시즘 페스티벌을 기해서
이들이 적극, 자발적으로 참여해, 2013년 10-11월 서울에서 새로운 작품을 많이 기획하고 있다.

이번 더글라스즘 패스티벌이라고 이름붙인 행사를 주최하는데 가장 주요하게 고려된 것은
 극단적으로 비상업적인 작품, 가장 강력한 수준으로 예술을 기리는 작품을 하는 Douglas Park의 특이한 존재성.
 물리적으로 거의 현존하지 않는 Douglas Park의 작품과,
많은 다른 작가들과 예술 활동들 사이에 존재한다는 특이한 조건의 작품들을 보여주는 적합한 조건과 환경을 만들고자 하며, 상대적으로 약하고 구조가 잘 안보이는 작품들을 가지고 크고 단단한 구조로 된 행사를 만들고자 한다.
7. 더글라시즘의 다음 행보가 궁금하다. 간략 소개 바란다.

더글라시즘의 다음 행보는 더 글라시즘이 생겨난 원산지인 유럽에서 펼치고자 하며,
2014년 서울의 워크룸 프레스와 더글라시즘 책도 출판할 계획이다.

‘ex-ca-vate-site-one’

Curated by Ismail Erbil
_____________________

ALEX CARMICHAEL
PATRICK DILLON
ISMAIL ERBIL
AYA FUKAMI
LANA LOCKE
PATRICK MICHALOPOULOS
YANA NAIDENOV
DOUGLAS PARK
JOANA ROBERTO
MARK SELBY
DARN THORN
SIG WALLER

Private View: Friday 16th August 6-10 p.m

Exhibition dates: 16.08.13 – 08.09.2013

Gallery opening times:
Friday-Sunday 12-6 p.m or by appointment

Whitechapel Gallery’s First Thursdays:
5th September, 6 – 9 pm

Exhibition part of Hackney WickED 2013


‘ex-ca-vate-site-one’ is a group show curated by artist-curator Ismail Erbil that investigates the relationship between finished works and those found in the artists’ studios, thinking of this relationship as a type of excavation. Revealing and concealing trajectories of thought and material-based decisions-making processes ‘ex-ca-vate-site-one’ blurs the boundaries between past and present, a type of archeological dig that disrupts ideas of presentation and display. Re-visiting the studio in a gallery environment Erbil records and reconsiders curatorial relationships and questions the context of the gallery versus the studio revealing often hidden or unseen aspects of an artist’s practice. Displaying a sense of unearthed visions creates unorthodox site of interaction between artworks, the gallery space and the viewer. A large structure in the centre of the gallery references Ray Staakman: Groot Draaiend Vierkant, 1965 and Marcel Duchamp’s spinning discs. This investigation extends from Erbil’s ideas of ‘digging’ for ceremonial visions, information and the performative dimension of the artist’s role, questioning the act of making and displaying artworks. The viewer is left to their own devices to link up finished objects with studio objects disrupting their process of engaging with the exhibition and shifting their role into that of active agent in the context of the exhibition as an installation.

_____________________

Press enquiries please e-mail: info@schwartzgallery.co.uk

Nearest Train Station:
Hackney Wick Overground Station
Buses:26, 388, 276, 30, S2, 236

Follow us on Twitter: twitter.com/schwartzgallery


Schwartz Gallery
92 White Post Lane, Ground floor
Building 2, London, E9 5EN

_________________________________________________________

Copyright © 2008-2013 Erbil.Michalopoulos, All rights reserved.


https://www.facebook.com/events/213555252136268/



http://www.flickr.com/photos/78851911@N06/9527747988/in/photostream/

Photos by Schwartz London
https://www.facebook.com/photo.php?fbid=430902817023859&set=a.115308185249992.19749.100003124334189&type=1&theater

photos by Ismail Erbill

https://www.facebook.com/photo.php?fbid=499219870171185&set=at.339562242803616.79929.100002495289404.100001730141045&type=1&theater


Wednesday, August 7, 2013

Printing Douglasism



Aug. 2013
Genk

Performance and Documentation Event 1

East Street Arts Showspace, 14 Warren Street, W1T 5LJ
Curated by Stephanie Dickinson, contact stephaniedickinson88@yahoo.com

Experimental recording of events from different viewpoints

Static show result

An exhibition where performance artists are documented by other artists, developing a resultant static show which shows the event occurrences from many perspectives.

Artists include:

Hannah Elizabeth Allan
Fionn Brettell
Andrew Cooper
Jonny Cunningham
Paola De Ramos
Tom Estes
Liv Fontaine
Rebecca Foster
Karen Karnak (Alytus Biennial)
Helen Long
Charles Okonta
Ian O’Shea
Douglas Park
Anne Robinson
Dan Smith
Jack Stokoe

EVENTS:
First Event
Tuesday 13th August 6pm - 9pm
Second Event
Thursday 22nd August 6pm - 9pm

Static Show Open:
Thursday 15th August 1 - 7pm
Sunday 18th August 1 - 6pm
Monday 19th August 1 - 7pm
Tuesday 20th August 1 - 7pm
Sunday 25th August 1 - 6pm
Monday 26th August 1 - 7pm
Tuesday 28th August 1 - 4pm

Performance Art Schedule:
Event 1 - Tuesday 13th August
6pm Open Doors
6.10 Jack Stokoe
6.30 Helen Long
6.50 Anne Robinson
7.10 Liv Fontaine
7.30 Douglas Park
7.50 Jonny Cunningham
8.10 Tom Estes

Event 2 - Thursday 22nd August
6pm Open Doors
6.20 Fionn Brettell
6.40 Douglas Park
7.00 Andrew Cooper
7.30 Dan Smith


https://www.facebook.com/events/1398806140337087/


htt
by Stephanie Dickinson
ps://www.facebook.com/photo.php?fbid=10151599748266317&set=a.10151599740896317.1073741826.516651316&type=1&theater


NEON GRAFFITI / SHADOW CAMOUFLAGE

Destination discovers voyager. Travelator pavement delivers upright paralytic cadaver. Wrong-turning side-street and behind-the-scenes backroom gaping jaws beckon. Entire body and newfound territory pound out slow heavy deep bass pulsing beats, in tempo together, gaining ever intensifying momentum. Contagious radioactive infection of innermost thought, wish, whim and freewill-power, spills straight out from the head to visit and tour the world, while the world penetratingly invades and swims inside the head. Upon contact, the solidly fossilised pitch-black nightfall toxic-hazard coalfaces in this neighbourhood shall surely burn, sting, stain, soil, bruise and cut the person; although, obligingly enough, lurid flashing blood rose sunset and dingy fog-blanket smokestack supply shock-absorbent guidance.

Asleep, dreaming, worn-out, boarded-up window, fly-poster hoardings reawaken into technicolour flower, butterfly, jewellery, dragon, shooting-star firework-display fountains, e.g. kitsch glam’ camp chic look made of rough, dirty, crude, derelict and barbaric customisation, interior décor, cosmetics, ornament, packaging, gloss, commodity and promotional material — in a state of refined, precious, delicate, fragile and contemplative vandalism, defacing, waste, decay, damage and deterioration. 

Glimpsed arrival, lingering and departure of somehow almost familiar, recognised and well-known, yet unplaceable total strangers, reveals silhouette motif low-profile mugshot icon portraiture sitters’ casting-couch screen-test audition for body-count i.d-parade catwalk roles in bacchanalian orgiastic mass carnage inferno. These hovering phantom spectres, haunt and patrol, incognito, wearing finery of armour-plated fancy-dress-party costume disguises of mournful sackcloth-and-ashes hood, cowl, visor, shawl, sari, cloak, drape, veil, shroud and gown — with festive war-paint carnival masks. 

Time after time, again and again, 2 distinct, recurring figures attract and hold attention: the 1st one, prominent, bold, visible and actively posturing in the limelight, follows and even forges time-honoured roads, earning respect — and envy; then, a 2nd, far more solitary, seen to lurk, creep, duck, dodge, hide and run behind corners, away from view, enacting unclear conduct, deserves utmost contempt — but also fascination. Both personages find and make up all the rules, aim, score — and the actual game itself accordingly, whilst bulldozing their merry ways along on the job; sometimes, at certain stages, through mutual common-denominator go-betweens, they meet, cross, converge, overlap and intertwine paths with each other and brush shoulders. 

Sporadic and ongoing, sudden, instant, gradual and emerging broken-off outbursts and sustained announcements of free-verse consciousness-stream prose, given out in a vernacular colloquial dialect slang terminology jargon, conveniently provide the following 5 helpful services: A.) faltering overdubbed voiceover, soundtrack, subtitles, interpretation, dialogue, script and running commentary; B.) local pirate radio station broadcast and reception to, from, against, around and throughout vicinity, persistent despite interference, background noise, signal distortion, atmospherics and disturbance; C.) estranged chatline ansafone comparison and swapping of mismatched and incomplete memo-pad note telegrams in stereophonic soliloquy monologue conversation; D.) ectoplasm and poltergeist teams whom scrawl, mutter, exclaim, pour, unravel, expose, smudge, erase and scour out desperate and urgent confessional diary entries, which alarm and reassure, warn and boast to all-and-sundry about this, that and the other; E.) spreading vague suspicions and wild rumours as to what might be original authorship and source, intended purpose, meaning, subject, target and consequence of such secret message publicity propaganda campaign evangelism. 

Explanation / Apology / Excuse / Attempt

Originally generated in 2001, as an invited reaction to Trix Stephenson’s Wonderground solo exhibition at A & D Gallery, London. Sadly, there was never any outlet for usage or exposure, due to Trix Stephenson 1st changing his work in favour of other directions, then any and all such activity of his hitting a hiatus due to other commitments and ventures. 

Around that time, Trix Stephenson was more than just some other worthy and exciting new arrival on the block and scene. Much interest and support followed for awhile. His energetic and raw but deep and serious work used scavenged paint and graphic materials for mark-making, not just being applied onto found host support surfaces. 

This output split into 3 distinct but connected facets or personæ. The star (or decoy?) “Larry Large”, mostly involved in the adult-entertainment industry, ruthlessly ambitious or even already successful, hellbent on fame, money and possibly also power and influence (the works included many references to advertising, fashion, brandnames and consumerism); unusually for such concerns and subject-matter, complex and even cumbersome, yet still effective. The more marginalised and secretive, “Raymond Lee Chandler”, a misanthropic serial-killer, with much misplaced drive and planning behind their campaign (or mission), the paintings appearing like umpteenth rate (but nonetheless powerful, believable and insight-infested) brutalist toilet walls, with graffiti, stains and paintwork to match (surprisingly, sophisticated and mysterious, for all the directness and crudity). Less specified or defined, “Bobbie Delicious”, a female character, somehow having dealings with both “Larry Large” and “Raymond Lee Chandler”, not so prolific as the other 2; mostly represented by waist-upward humanoid figures, with gloved hands coming from the genital area; the few or only 3d works by Trix Stephenson were soft sculptures based on this motif. 

A common-thread running throughout, was genuine exploration of the affinities and linkage between such behaviour, then to what extent they’re caused by and contribute to society, as well as public attitudes and perception towards them — including the extent to which we are all susceptible and implicated. 

Circumstances surrounding ‘Neon Graffiti / Shadow Camouflage’ influentially entered the end-result and outcome. It had been on the cards to visit the show as promised. The day that happened began when I awoke to find myself in the toilets of the Royal Academy of Arts Schools, following an art award private view the night before. After explanation to good-humoured and sympathetic Royal Academy of Arts Schools staff, my 1st port of call was the Seeing Round Corners mini-retrospective of the (since lating-greating) sculptor, Barry Flanagan, at Waddington’s in Cork Street. While there, the phone rang. It was Trix, wondering if I was around, free and up for checking out Wonderground that day, because he’d be at the A & D Gallery then. Having nothing else to do meant I’d may as well go, so offer taken up and accepted. This meant making my way from Mayfair to Chiltern Street (in and near Baker Street / Marylebone / Bayswater / Portland Street / Regent’s Park), where A & D Gallery still gœs strong to this very day; o.k, so nothing difficult, unpleasant, unique or special otherwise, but journey, environment and experience became self-consciously aware-of, adding to pre-existent knowledge and expectations of what lay waiting. The only remembered visit along the way was Cornelia Grassi’s Greengrassi gallery, in those days based in Fitzroy Street, Fitzrovia (off Warren Street and Euston Road). 

Not too much later, getting to A & D Gallery, meeting Trix again, seeing work, similar to and the same as what I’d already heard about and seen before and further discussions (with all that entailed and brought), all joined forces together, alongside every other external factor entering equation. Even more than usual for me, it became inevitable to play around with readymade (or even sometimes from-bad-to-worse) clichés of imagery conveyed, phrasing and embodiment, then how overall impression would be pulled off and come across. Doing my utmost to capture, save, preserve, emphasise and reinforce that which was then and still is so real and credible, to the best of my ability possible, hopefully without corruption or weakening of it. 

©, Copyright, Douglas Park 

Online at http://www.slashseconds.com/, curated by Graham Horton & Peter Lewis, Redux Projects, London / Leeds Metropolitan University, Leeds, 2011

Photos Tom Estes
https://www.facebook.com/photo.php?fbid=10151839461743832&set=at.10151821946018832.1073741833.628903831.100001730141045&type=1&theater


Sunday, August 4, 2013

The Best Gallery in the world

Marching on the former Golden Hart (Sandra Esquilant's pub) piano, at Guy Hilton’s Fournier Street Gallery (“the best gallery in the world”, as declared and signpainted by Bob & Roberta Smith). 
©, Copyright, Gavin Broad Also, With Gavin Broad. 
©, Copyright, Gavin Broad "Fl-Oi!-xus" = "fluxus" (postwar avant garde art-life crossover extended group / tendency / events / festivals / editions etc) + "Oi!" (punk / skinhead youth culture movement etc)

https://www.facebook.com/douglasrpark/media_set?set=a.104071792993825.6111.100001730141045&type=3

Douglas Park with Gavin Broad
©, Copyright, Gavin Broad



Thursday, August 1, 2013

Greatest hits of Douglas Park

Serialized intervention, ‘Advance scripted progress-report findings
(in edgeways) grand-total score results (pending awaited outcome)’,
(“Writing the part of: Detective Inspector Harris”), in Victim,
collective bookwork, edited by Claire Hooper, Zazie Press, London,
2005

Text & spoken-word, ‘Human Shield’, on 'Hospital / Radio', Richard
Crow audiowork, track 10, SOUNDWORKS: For Those Who Have Ears, c.d
compilation album and book, produced by Julie Forrester, Niamh Lawlor,
Danny McCarthy & Harry Moore, Art Trail, Cork, 2005

Texts & spoken-word track, ‘Nurseryworld’, on nurseryworld /
swanmachinery, c.d single, with Kris Delacourt & Nico Dockx, Galerie
Jennifer Flay, Paris, 2003; Claire Fontaine pages, http://www.kmplt.be
Komplot, Brussels, 2008

‘Micro-Colonial-Drift / Growth-Area (via the Scenic-Route)’, in The
Bastard / Magnetic Speech, anthology, edited by Dr Clementine Deliss,
Metronome, London, 2001; text & spoken-word, side 2 track
4,‘Micro-Colonial-Drift / Growth-Area (via the Scenic-Route)’, on New
Opportunities for Focused Listening, audio-cassette compilation album,
curated, edited & produced by Bevis Martin & Charlie Youle, Lieu
Unique, Nantes, 2005; ‘Micro-Colonial-Drift / Growth-Area (via the
Scenic-Route)’, (“A fractal topographic field report from Acorn
Island”), http://www.charlie.youle.free.fr, promotional website,
Nantes, 2005; badge, ‘INLAND  OCEAN   acorn  i s l a n d’, The Badge
Project, group edition, edited by Nico Dockx, Teleport Fargfabriken,
Ostersund; 2008

‘Delphic-Oracle Self-Service Chat-Line Call-Centre’, Lists, anthology,
edited by Emma Dwan O’Reilly & Keith Winter, Allotrope / University of
Ulster, 2011

‘Misagreement’ (English / Flemish, translated by Dany Abeel & Super
Pepe), in Gagarin volume 8 number 1 (number 15), edited by Wilfried
Huet, Antwerp, 2007

Essay, ‘Predatory Benevolence + Protective Imprisonment = Clam Nest
Trap Shield Coffin Sanctuary’, Alison Gill, Brink solo exhibition,
Sabine Wachters Fine Art, Brussels, 2009; Alison Gill pages,
http://roddickinson.net, London, 2011; in AIR Traces, anthology,
edited by Alan Quireyns and others, A.I.R, Antwerp, 2013; (also
includes Alison Gill "definition" from preface / 18 untitled
“definitions” of contributor’s practices, Fresh-Air Machine, group
exhibition catalog, Calvert 22 / Outset, London, 2008)

‘Disquiet Tectonica’, contributory input to "collaborative research
project on new audiovisual writing and uncanny architecture", with
Kris Delacourt, Nico Dockx and Michelle Naismith, Disquiet Tectonica,
DVD, Curious, Antwerp, 2002;  in once the search is in progress,
collective publication, Cycle Post-Diplome, ERBAN, Nantes, 2002;  in
'Utopia Station' section, Dreams and Conflicts — The Dictatorship of
the Viewer, 50th Biennale di Venezia catalog, edited by Francesco
Bonami & Maria Luisa Frisa, Marsilio Editori, Venice, 2003

 'Exfluence', http://www.airantwerpen.be A.I.R, Antwerp, 2006 (taken
offline in 2008); in AIR Traces, anthology, edited by Alan Quireyns
and others, A.I.R, Antwerp, 2013

Prose-blurb & artwork, ‘Mudbath Rainbow / Spectrum Debris’, Something 
Dirty, music album, Faust, Bureau-B Records, Hamburg, 2011


Recorded by Tom Fox
Aug. 2013
London

Image credit: Keef WInter
https://www.facebook.com/photo.php?fbid=371858372941253&set=a.321195901340834.1073741827.100003512793919&type=1&theater
Issued in Seoul by Kim Kim Gallery & workroom press
Oct. 2013

https://www.facebook.com/photo.php?fbid=1141979245846955&set=p.1141979245846955&type=3&theater
Dec. 2015

Tuesday, July 30, 2013

Sunday, July 28, 2013

Kurt Ryslavy & Douglas Park

Kurt Ryslavy's work: 'The London-Galleries-Therapy', 
London, 2005
image credit: Kurt Ryslavy, 2005



Alles was minimal ist

Kurt Ryslavy
installation, performance
special guest: Douglas Park
Opening 14 Sep. 2007
CCNOA, Brussels


DVD
video by Alexandra Dementieva
Cover photo: Luc Van Tichel

Wednesday, July 24, 2013

day by day by day

Taking Pictures, Sharing Cameras. Jan. 2001-May 2003
Descriptions of films 1-38
Nico Dockx & Mark Luyten

published by CURIOUS/cure 008-1
in collaboration with Galleria Neon, Bologna/Milano
& Galerie Micheline Szwajcer, Antwerpen

edition 500 copies

concept: Nico Dockx & Mark Luyten
soundtrack: Kris Delacourt
graphic design: Jean-Michel Meyers
editor: Joan Rothfuss
Antwerpen 09 2003


Notepad




June 2013
London
Photos by Kim Kim Gallery

Sunday, July 14, 2013

Uncanny networks

text in a periodical

 A conversation between Douglas Park, Gerrit Vermeiren, Helena Sidiropoulos, Koen Wastijn, Kris Delacourt, Lieve Foncke , Charlotte Bonduel and Nico Dockx. 

in: . 2003, pp. 60 - 63 : b/w and col. ill.

http://www.kunstonline.info/levelone/php/persons/personpage.php?chapter=biblio&relation=person&id=21968&functionid=1

Chambres à mémoires

Memories, to bring something in the inner space « to go inside » implies a fundamentally present intimacy. A poetic depth through recollections, memories relating to space by touching objects, walking through hallways, sitting in corners,... Discovering these aspects that strike us, (different ones repetitively), that trigger a movement - one of thought and eventually one that reaches a level of giving new impulses, paths that can be visited by the reader.
The idea of using space to remember, to go inside your space and to transform this « assembly » - small, fragmentary thoughts - and using the idea of dis/appearance, traces that are engraved in our thoughts, in our images (as they attached to ones mind)...and (re)place them in a concrete space.
The interaction in between these fragments will realize a whole- not a definitive whole, but rather a temporary one as it is how we recollect intuitively, time collapses, erases itself briefly.
As I see « The Berwick Research Institute », or rather the building where it is situated, to be an empty space (nothing is attached, it is actually quite open),a space that can be filled with our little bits and pieces, fragments, that might create a new « space » within this space, this latter one to be situated next to the existing one, almost parallel. We somehow intend to create a tension in the space;and to give you this gift, this intimacy.



http://www.hans-segers.com/index.php?page=chambre-memoires
Press - release send out March 2003 Boston USA

Helena Sidopoulos, curator

With: Matthew Christensen, William Davenport, Babs Decruyenaere, Dessislava Dimova, Nico Dockx, Kris Gevers, Peter Lemmens, Mark Luyten, Jean-Michel Meyers, Douglas Park, Hans Segers, Helena Sidiropoulos, Peter Verwimp.