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    Archived pages: 190 . Archive date: 2013-12.

  • Title: Objectif Exhibitions
    Descriptive info: .. EN.. /.. NL.. Objectif Exhibitions.. Kleine Markt 7–9/26.. Antwerp, 2000, BE.. T +32 3 2884977.. E.. info@objectif-exhibitions.. org.. About.. 2012–2016.. OBJECTIF EXHIBITIONS (vzw) is a not-for-profit institution trafficking diverse contemporary artistic practices into and out of Antwerp, Belgium.. We open our doors to both curious enthusiasts and specialists.. We also exit those doors, from time to time, to present exhibitions in other contexts and dimensions.. Uniformly, everything at Objectif Exhibitions or organized under its imprint is referred to as an exhibition—presented at differing scales, along differing temporal structures, and with correspondingly different billings.. FUNDING.. The Flemish Community.. EU Culture 2007–2013.. TEAM.. Director: Chris Fitzpatrick.. Exhibitions Coordinator: Maziar Afrassiabi.. Financial Translator: Judith Lindekens.. Graphic Design: Goda Budvytyte.. Website Programming: Mindaugas Uba.. BOARD.. Anne Judong: Curator, Bozar, Brussels.. Nicolaus Schafhausen: Artistic Director, Kunsthalle Wien, Vienna.. Win Van den Abbeele: President of the Board, Co-founder, and former Director of Objectif Exhibitions, Antwerp.. Steve van den Bosch: Artist, Antwerp.. ADVISORY BOARD.. Frederique Bergholtz: Director, If I Can’t Dance, I Don’t Want to Be Part of Your Revolution, Amsterdam.. Chris Evans: Artist, London.. Anthony Huberman: Director, Artist’s Institute, New York.. Gabriel Kuri: Artist, Brussels.. Sophie Nys: Artist, Brussels.. Leon Vranken: Artist, Antwerp.. SPONSORS.. Subscribe.. To subscribe to our mailing list, please enter your email address below.. Visit.. OPEN.. Wednesday to Saturday, 2–6pm.. Closed on public holidays.. DIRECTIONS.. From Centraal station, take tram 2 or 15 to Groenplaats, turn left on the Nationalestraat, take the second left onto Kammenstraat and we are down the street (next door to Cafe Berlin).. Walk down the hallway into the courtyard.. From Berchem station, take tram 8 to Mechelseplein, walk along Vleminckveld until it ends at Kleine Markt.. We are on your right.. View a map here.. Two Futures.. TWO FUTURES is a consortium of patrons waging between 2 and 2000 euro on the programming at Objectif Exhibitions.. With non-hierarchical thanks, members will receive exclusive undisclosed information and items from both futures.. Membership is automatically processed once anything between 2 and 2000 euro (in annually renewable non-deductible funds) is sent via PayPal to.. along with a postal address, full name, and whether or not to list your name publicly.. TWO FUTURES:.. Jodi Allison David Somers.. Anonymous.. Nina Beier.. Goda Budvytyte.. Frank Chu.. Audrey Cottin.. Daisy.. Kimberly, Lily, and Tyler Davis.. Dexter Sinister.. Anthony Discenza.. Caroline Dumalin.. Chris Fitzpatrick.. Michael Fitzpatrick Sr.. France Fiction.. Anna Franceschini.. Nico Fumai.. Galerii Jõhvi.. James Gardner.. Krõõt Juurak.. Laura Kaminskaite.. Chosil Kil.. Judith Lindekens.. Luka.. Raimundas Malašauskas.. Nicholas Matranga.. Darius Mikšys.. Sol Cæsar Møller.. L.. Farnsworth O Hara.. Post Brothers.. Will Rogan.. Alex Ross.. Arin Rungjang.. Sham Saenz.. Kassandra Stiles.. Triin Tamm.. Jennifer Teets.. Mindaugas Uba.. Vlokje.. Johanna Kempers Wyngaarden.. Erik Wysocan.. From: OBJECTIF EXHIBITIONS ANTWERPEN BELGIUM Tel: +32 3 2884977.. Dear Sir/Madam.. This letter is not intended to to cause any embarrassment but just to contact your esteem self-following the knowledge of your high repute and trustworthiness.. Please permit us to make your acquaintance in so informal a manner.. We are vzw contemporary art centre, Objectif Exhibitions of, Antwerp, Belgium.. The information we gathered from an associate who has worked in your country has encouraged and convinced us that from you this transaction will be properly handled with modesty and honesty to a huge success.. Please, we need your assistance to make this is necessitated and please; do not undermine it because it will also be a source of upliftment to you also.. Other than between 2 and 2000 euro, you have absolutely nothing to loose in assisting us instead, there is much to gain:.. futures.. We have such thanks on the Flemish Community as it continues to be very generous over us and provide our future, but we can only afford one.. And it has been made clearly to the attention of Objectif Exhibitions that one future is not enough.. We need two.. Please dears, we repose great confidence in you and hope you will join TWO FUTURES and join international consortium of patrons already supporting our program by waging funds for exhibition paying in annual non-deductible funds.. Belgium has no tax shelter, but 2—2000 euro on the programming at Objectif Exhibitions, in thanked return, we shall work with artists and provide all members receive exclusive undisclosed items from one or both of the two futures being supported.. We have done a thorough homework and fine-tuned the best way as the TWO FUTURES patron effect the transfer accordingly.. Is rest assured that the modalities we have resolved to finalize the TWO FUTURES is risk free and viable.. You will providing the program Objectif Exhibitions with a double future simultaneous to the one it is eating tomorrow.. If you are capable and willing to assist, please at once send between 2 and 2000 euro via PayPals to.. with following details:.. 1.. YOUR NAME.. 2.. POSTAL ADDRESS.. 3.. DO YOU WANT YOUR NAME PUBLIC INDENTIFY AS MEMBER?.. Also this transaction can be absolute confidentiality and not disclose your information to anybody irrespective of your relation with the person.. Remember, Loose lips sinks ship.. We are looking forward to your urgent and positive response via our email address above.. Yours,.. Objectif.. 23 November, 2013—18 January, 2014.. Rosalind Nashashibi.. The Painter and the Deliveryman.. Opening Saturday, 23 November 2013, 4-7pm.. Images.. 1.. 2.. 3.. 4.. To see the full size images, you need to enable javascript in your browser.. Renée, Philip, Chris—three characters, entangled across two synchronized films, and projected on two constructed surfaces.. Opening on 23 November, The Painter and the Deliveryman is a solo exhibition of new work by Rosalind Nashashibi.. And she, like Objectif Exhibitions itself, is one of the characters on loop.. Nashashibi intended both films to be screened in the basement.. Their bifocal ping ponging aids their implicit entanglements, and their subterranean remove allows the vacant entry hall, courtyard, office, and ground floor to serve their functions as mnemonic thoroughfares on the way out.. In.. The Deliveryman.. (2013), a package arrives in the office.. A generic white male arts administrator speaks in English, and a hurried DHL worker responds in Flemish.. Yet communication occurs less via spoken language than embodied signals—a scrawled signature, codified behavioral cues, context, uniforms, and so on.. Upon this double receipt, however, the deliveryman breaks uniform and a different expression crystallizes in the courtyard.. Meanwhile, in Basel, the painter’s studio is similarly infiltrated.. An artist is at work in.. The Painter.. (2013)—uniformed elegantly in paint-splattered shoes and work-wear—yet another unseen artist is observing, directing, framing off-screen.. Nashashibi films more than the work itself, and large, muscular, abstract paintings emerge from a combination of energetic and economic gestures.. With unflinching pragmatism, the painter pushes and pours muted viscous matter, surprisingly, with a mop.. Eventually, the focus shifts to a drawing of a smiling girl atop a horse—tail raised, issuing a pile of dung.. It’s by the painter’s daughter.. Production and discharge, anxiety, pleasure—relief.. In either film, or in their tertiary combination, the various forms of expression are, in the end, pre-verbal.. A messenger interrupted.. A painter wielding a mop.. And yet, however non-diegetic, Nashashibi’s distinct voice resounds, as she grapples with her own complex position in all of this.. Rosalind Nashashibi (b.. 1973, Croydon; lives in Liverpool) graduated from Glasgow School of Art in 2000.. In 2015, she will present a commission at the Imperial War Museum, Gaza, and she he has previously presented work in group and solo exhibitions at Murray Guy Gallery, New York (2013); Marcelle Alix Galerie, Paris (2013); Tate Britain, London (2012, 2004); Musée du château des ducs de Wurtemberg, Montbéliard (2012); CA2M Centro de Arte Dos de Mayo, Madrid (2012); Pompidou Metz (2011); 10th Sharjah Biennial, United Arab Emirates (2011); Peep-Hole, Milan (2011); Tulips and Roses, Brussels (2010); Centre Pompidou, Paris (2010); ICA, London (2008); 5th Berlin Biennale (2008); Manifesta 7, Trento (2008); Berkeley Art Museum, California (2008); 52nd Venice Biennale (2007); and Kunstverein, Frankfurt (2007); among others.. 27 October, 2012—.. FRANK CHU.. Jretdrostrenikal Exhibitions.. CATALOGUE.. Each week, Frank Chu commissions a new sign to use in his daily public protests.. Each week, a different sign is exhibited in our office.. 30 November—6 December, 2013.. MIFFLIN.. SOXSTROSULLIONS OF POPULATIONS.. NBC : DROXPRODRELLIKUL SPACESTATIONS.. SUBROGATING HEMORRHAGING.. TUXTROCHRELLICAL.. 23—29 November, 2013.. ABRAMOFF.. ETROPRULLIONS OF POPULATIONS.. TASS : PRITROGRULLICOL SAUCERPORTS.. EPIDEMICS MOLYBDENUM.. TRUTROGRELLIPOL.. 16—22 November, 2013.. DANVERS.. ASGROVILLIONS OF POPULATIONS.. CBS : TUSWROKENICOL NEWSCASTS.. CONJURING CONGRESSIONS.. ISDROBENIKEL.. 9—15 November, 2013.. GITTLEMAN.. 12 GALAXIES.. ZIKROJENIKOL MICRONUCLEUS.. CBS : PSYTROPENICAL COVERAGE.. STILTZERSUTIKUL.. PANCURONIUMS VANCOMYCINS.. TENOFOVIRS.. 2—8 November, 2013.. SCHERER.. CLETROSTALLIONS OF POPULATIONS.. BBC : PRATROJRENIKUL SOCIETIES.. GRTGROGRENICAL.. 26 October—1 November, 2013.. LASHLEY.. JUSDROCILLIONS OF POPULATIONS.. BBC : FOSGROJRENIKAL PODSITES.. LIQUIDITY EUPHORIA.. LESDROSENICOL.. 19—25 October, 2013.. PARKVILLE.. ROSKROPHILLIONS OF POPULATIONS.. TASS : YUSCRORENIEL NETSITES.. REVISIONISTS REDUCTIONS.. VISTROJRONICOL.. 12—18 October, 2013.. DUDLEY.. XOTROGRILLIONS OF POPULATIONS.. NBC : KETROJRENIKEL WEBCASTS.. MONTAGES TAXATIONS.. ZITROCRENICUL.. 5—11 October, 2013.. SULZBERGER.. OTRONILLIONS OF POPULATIONS.. CBS : ITROXENIKAL COVERAGE.. YOTROJRENIEL.. STACCATO STENTORIAN.. JITROWRENIUL.. 28 September—4 October, 2013.. WATERHOUSE.. KITROWILLIONS OF POPULATIONS.. CBS : CRUTROKRUNIEL PODCASTS.. LOTROSTRENICOL.. CULTURES FOUNDATIONS.. PROTROWRENIKUL.. 21—27 September, 2013.. BECKITT.. VETROSILLIONS OF POPULATIONS.. CBS : FRUTROSENIEL BROADCASTS.. ITROJRENIUL.. PREDESTINATIONS DESCENSIONS.. CRETRODRENIOL.. 14—20 September, 2013.. BROAD.. 7,325,000,000 GALAXIES.. CBS : ZUTROVRENIAL COVERAGE.. XITRORENIAL.. MONOXIDES POPULOUS.. ATROSTRENIAL.. 6 July—13 September, 2013.. TEMPLETON.. ALFOCRATIC EXPLOITATIONS.. PARAMOUNT.. DAKOCRACY.. SANCTIMONIOUS.. EVISCERATED SYNOPSIS.. 29 June—5 July, 2013.. PAULSON.. SOLOTETIKAL FASCISM.. PBS : FIGROZENICUL COVERAGE.. YOTROGRETIKOL.. RAPACIOUS PREVALENT.. VEST GES.. 22—28 June, 2013.. HOUSELEY.. 75,850,000 GALAXIES.. TASS : HOTROKENIAL BROADCASTS.. THYCROJRENIAL.. REDEMPTIVE DOCTRINES.. SHOTROWRENIAL.. 15—21 June, 2013.. [B][E][R]NARD.. ESJROSILLIONS OF POPULATIONS.. ABC : OSTROJENIKOL NETSITES.. MATRIARCHS MATRIMONIES.. USCROKENICAL.. 8—14 June, 2013.. DEAVER.. VATROGILLIONS OF POPULATIONS.. NBC: XETROTUNIKUL PODCASTS.. WHETROTRENIOL.. CONTEMPORARIES ELUCIDATE.. ETYETROTONICAL.. 1—7 juni 2013.. IMPEACH.. BUSH.. 12 Galaxies.. Guiltied to a.. Technitronic.. Rocket Society.. 25—31 May, 2013.. ROXBOROUGH.. 9,665,000,000 GALAXIES.. NBC : XETROKRINIUL COVERAGE.. STRATRODRENOL.. RECIDIVISMS STIGMATIZING.. TRUTROSTRUNIAL.. 18—24 May, 2013.. HARRINGTON.. BETOGONIC ATOMIC TERRORISTS.. CBS NEWS : FACE THE NATION.. ULTROGONIC.. TANTAMOUNTED.. EPITOMIZED INCENTIVES.. 11—17 May, 2013.. HOCKSTADER.. BASKROXONICAL VAGRANCIES.. ABC : XUSKORUNICAL COVERAGE.. WESTRONOTICAL.. IMMINENT TIOCONTAINMENTS.. PREHYPERTENSIVES.. 4—10 May, 2013.. SCHKADE.. BEXCROLETIKUL UNJUSTICES.. BBC : KOTROPREDICAMENTED COVERAGE.. ZEXGROPENTIKAL.. ERUPTED DASTARDLY.. ELATIONS.. 27 April—3 May, 2013.. MULLANEY.. BENUKRENIC OCCUPATIONS.. FORTUNE: OLTGITRATIC COVERAGE.. ILTGUTRITICALLED.. CONSPICUOUSED ONEROUSED.. GALLANTRY’S.. 20—26 April, 2013.. COLLEYVILLE.. 895,000 GALAXIES.. ABC : NUTROPHRENICOL BROADCASTS.. YALTRODRUNIQUO.. DECIPHERING STUPORS.. KRUCKTHROCENIAL.. 13—19 April, 2013.. BOISE.. 6,965,000,000 GALAXIES.. TASS : CRACKOGRENIAL PUBLICATIONS.. XAXJROKRONIOL.. REPRIMANDS CHASTISEMENTS.. VIXGROSTRUNIEL.. 6—12 April, 2013.. MINTON.. GATROVRENIKAL ENCHANCEMINTS.. BBC : ATKROHONIGOL COVERAGE.. PLYDRODRENICOL.. PLYOMETRICS CYSTITIS.. METASTASIS.. 30 March—5 April, 2013.. PERSINGER.. YELTZTORONIKUL RELOCATIONS.. CNN : PSELZTORXINACUL COVERAGE.. GOXKROZENIKAL.. ORTHOKERATOLOGY.. 23—29 March, 2013.. RAIZAKIS.. QUINTRONIC.. EMBEZZLEMENTS:.. ZEGNATRONIC.. SUBROGATED.. CAMPAIGNS.. 16—22 March, 2013.. LEDGER.. FITGRORILLIONS OF POPULATIONS.. CBS: UTTERDRENIEL FOOTAGES.. HUTCROJENIKOL.. INEXTRICABLE GAUNTLETS.. XYROCKROHENICAL.. 9—15 March, 2013.. BRUSTEIN.. OXPROVOLLIONS OF POPULATIONS.. ABC : THOXKROKELLIKUL SPACELINERS.. ATONEMENT RESONATED.. ZIXTRODRELLICAL.. 2—8 March, 2013.. NAYMAN.. UTROCULLIONS OF POPULATIONS.. NBC : TRATROJRELLICAL SPACEPORTS.. SYNERGISTIC PARADIGM.. FITROPHENICOL.. 23 February—1 March, 2013.. BERNHARDT.. ZACKROSELLIONS OF POPULATIONS.. ABC : XETROJRUNICAL.. ACQUIESCENT CANTOR.. WRETROTUNIKAL.. 16—22 February, 2013.. SIMMONS.. EXJROVILLIONS OF POPULATIONS.. ABC : BYTROSTENICAL PODWATCHES.. BRISTLECONES ENTANGLEMENTS.. AXGROTENICAL.. 9—15 February, 2013.. WECHTER.. LITROXOLLIONS OF POPULATIONS.. CBS : MATROGRELLICUL SAUCERCENTERS.. EXTRACTIONS COMPRISED.. PETROWRELLIKUL.. 2—8 February, 2013.. CUTHBERTSON.. FOSKROVOLLIONS OF POPULATIONS.. CBS : OSPROJRELLITAL SPACECRUISERS.. AESTHETICALLY CANONICAL.. KRASJRODRULLICUL.. 26 January—1 February, 2013.. MERIWETHER.. UTROPRULLIONS OF POPULATIONS.. ABC : PRETROGRELLITOL ROBOTICS.. GESTATIONAL PREVALENCE.. OTROWRELLIGUL.. 27 October, 2012—25 January, 2013.. * An Assistant.. (AN) : ULTIMATE : ZEGNATRONICED : ANALYSISED : (A) : TECHNITRONICED : SUBSTANTIATED : ULTRATRONICED : IMPOSSIBILITIED : WITH : ALTRALOGICALLED : THEORETICALLED : DECTROLOGICALLED : CONSTANTANEOUSED : ZEGNALOGICALLED : IMPROBABLED : OCTROLOGICALLED : CONTINUOUSED : OMEGALOGICALLED : IMPROBA-BILITIES : OF : MEGATRONICED : SUBROGATED : HEXTROLOGICALLED : INSTANTANE-OUSED : PENTROLOGICALLED : DISPOSITIONS : WITH : SEXTROLOGICALLED : INTERRED-GALATIALLED : OMEGATRONICED : RHETORICALLED : ULTRALOGICALLED : CONTINUI-TIES : OF : TECHNILOGICALLED : ESCALATED : BETATRONICED : SKEPTICALLED : QUADROLOGICALLED : DEPOSITIONS : ( A ) : ZEGNATRONICED : RELEVANT : CIRCUM-STANTIALLED : PENTRONICED : AWESOMED : THEORETICALLED : ULTRALOGICALLED : RELUCTANTED : MEGALOGICALLED : STATISTICALLED : CONSTANTANEOUSED : HEXXED-TRONICED : APOCOLYPSED : ( AN ) : ALTRALOGICALLED : INSTANTANEOUSED : DECKED-TRONICED : RANDOMMED : TECHNITRONICED : CONTINUITIED : OF : ( A ) : TRIOLO-GICALLED : PERCEPTIONS : ( AN ) : OCTRONICED : AERONAUTICALLED : ZEGNALOGICALLED : PROPOGATED : PENTRONICED : THEORETICALLED : ULTRALOGICALLED : ASCERTAINMENT’S : ( AN ) : OCTROLOGICALLED : INSTANCE( S ) : OF : ( A ) : TECHNITRONICED : PROPOSITION( S ).. Frank Chu (b.. 1960, Oakland, California, US; based in Oakland) is a professional protester and intergalactic television and movie star.. He studied Business Administration at the University of California, Berkeley; California State University, Hayward; Merritt College, Oakland; and Laney College, Oakland, before receiving an Associate’s Degree in Business Administration from The College of Alameda, California, US.. Since 1998,.. Chu has presented his ongoing series of signs in daily protests throughout the San Francisco Bay Area.. In addition to his ongoing and undefined solo exhibition at Objectif Exhibitions, Chu has recently exhibited in group exhibitions including.. Portable Holes.. , San Francisco Pavilion,.. 9th Shanghai Biennale.. , China (2012);.. Sõida tasa üle silla (Ride gently over the bridge).. , Galerii Noorus,.. ART IST KUKU NU UT.. Festival, Tartu, Estonia (2012); and.. Psymulation: Reenactments of the Present.. , Photo Epicenter, San Francisco, US (2008).. His campaign has also been featured in.. Spike Art Quarterly.. , Wien (2013);.. Nero Magazine.. , Rome (2011);.. The San Francisco Chronicle.. (2010);.. and numerous other publications.. Chu regularly spoke on stage at the now defunct 12 GALAXIES nightclub in San Francisco (2003-08), which was named in his honor.. (Objectif Exhibitions would like to thank Federico Acal, David Andersen, James Dillon, Fabian Gonzalez, David Kasprzak, Charles Kremenak, Paul Kuimet, Nicholas Matranga, Nero Magazine, Post Brothers, Floris Schönfeld, Spike Art Quarterly, Two Futures, and Xiaoyu Weng for their support of this exhibition.. ).. 21 April, 2012—1 January, 2016.. Nina Beier.. Four Stomachs.. Nina Beier does not complete exhibitions.. If parenthetically corralled, “(but so does Beier)” was not an afterthought dropped into last year’s text, but a signal foreshadowing this year’s transition from one stomach to another.. Preceding a full stop, the () suggested an ellipsis leading to an even tauter entanglement of public/private.. “Cows have four stomachs and forget their past, almost before it has passed.. ” Yet one year later, Nina Beier’s.. Four Stomachs.. remains a machine, and Beier still prods the parameters.. Methodically disfigured, those dozen eyeless sentinels performed their public service, and Beier has pushed them out to pasture.. They’ve been replaced by seven large works from Beier’s.. Portrait Mode.. series.. Vertically oriented, human-scaled, Beier has arranged for this line of frames—bulging and overstuffed with discarded animal-printed apparel she sealed, this time, behind less reflective, more protective, glass—to sartorially squat the director’s private residence.. Resembling the most haunted of trophies, this stable of compressed skeuomorphic garments is tended by a gatekeeper contracted to live within a growing series of questions—economic, aesthetic, conceptual, professional and, as so few will ever see, domestic.. is now by invitation only.. (b.. Aarhus, Denmark, 1975; Lives in Berlin) graduated from the Royal College of.. Arts, London (2004).. She has exhibited her work in solo exhibitions at Objectif Exhibitions, Antwerp (2012-16); Standard (Oslo), Oslo (2013); Proyectos Monclova, Mexico City (2013); and Kunsthal Charlottenborg, Copenhagen (2011-12); among many others, as well as in group exhibitions at Centre Pompidou, Paris (2013); Museum of Contemporary Art Detroit (2013); Moseion Bozen, Bolzano (2012); The Artist’s Institute, New York (2012); KW Institute for Contemporary Art, Berlin (2012); Index, Stockholm (2012); Tate Modern, London (2012); Moca, Miami (2011); Extra City, Antwerp (2011); The Swiss Institute, New York (2011); and SC13, San Francisco Antique Design Mall (2010-11).. 5.. 6.. 7.. 8.. 9.. 10.. 11.. 12.. Nina Beier does not complete works.. They remain subject to re-use, re-titling, re-articulation, and reanimation.. With.. , Beier defaces a series of busts (bronze portraits, plastic mannequins, ceramic figurative folk art), and positions them in the residential windows above Objectif Exhibitions.. Cows have four stomachs and forget their past, almost before it has passed.. A bust is always born disfigured—limbless, partial, abstracted.. Beier disfigures them further, and strips them of their histories.. Placing the flattened faceless fronts of the figures flush against the window glass, Beier symbolically seals their exposed inner surfaces—containers contained.. Observing like eyeless sentinels or debilitated gargoyles, they too will be watched—fixed in place, or periodically shifting locations—over the next four years.. Altogether,.. is a machine.. Sentient, it reserves the right to restart itself at any moment, or to halt completely (but so does Beier).. 14 November, 2013.. ( AN ) : OCTROLOGICALLED : INSTANCE( S ) : OF : ( A ) : TECHNITRONICED : PROPOSITION( S ).. It’s all a labor dispute.. Since 1998, professional protester Frank Chu has relentlessly campaigned in rush-hour traffic, at political demonstrations, music festivals, baseball games, or in any populated place where news cameras are filming.. Each day, a different serial protest sign indicts oppressors in an enigmatic lexicon organized within codified graphical and informational systems.. From 6-8pm on 14 November, we’ll single out a few signs, before screening a video interview in which Chu claims his entire life has been filmed, edited, and broadcast in other galaxies as.. The Richest Family.. Have the billions of dollars in royalties Chu seeks been embezzled by the 12 GALAXIES—a nefarious network of highly-advanced extraterrestrial populations working in collusion with former US presidents, congressmen, and senators, as well as the CIA, FBI, NSA, Universal Studios, 20th Century Fox, and other agents and agencies? Or does Chu’s case reframe the universe as a composite of conspiratorial powers allied with the US? How does this reframing resonate with the systemic violations of privacy taking place internationally? And how do Chu’s parasitical protest strategies and material output resonate within a larger art historical context?.. There will be a discussion.. 24 October, 2013.. Nocturne.. MORTEN NORBYE HALVORSEN.. Alluvium.. 14 September—23 October, 2013.. FREEK WAMBACQ.. Rain after snow.. FRANK CHU.. Jretdrostrenikal Exhibitions.. 27 October, 2012—.. NINA BEIER.. 21 April, 2012—1 January, 2016.. 12 October, 2013.. Freek Wambacq with Sean Lynch.. From weather to weather.. Butchers, botanists, bankers, bibliophiles, and more—they’re all in on it.. For.. , Freek Wambacq subtly intervened in 14 locations and spread a narrative loop of silent sounds throughout Antwerp, Belgium.. Those sounds are only implied.. Wambacq has been interested in how ‘Foley’ artists choose objects for their sonic potential, not their visual allure, when making cinematic sound effects.. The result is a series of denatured objects, which Wambacq reinserted into a visual context.. Here, there, and there, Wambacq pairs them with particular sites to amplify their respective linguistic capacities—alliteration, onomatopoeia, puns and, in particular, their narrative potential.. There’s a lot to see and say.. So we invite you to join us at 12pm sharp, on Saturday 12 October, at Objectif Exhibitions.. Askeaton Contemporary Arts will dispatch weatherman Sean Lynch to talk with Wambacq about.. , and to take us on the full tour of its 14 locations (plus a few things along the way).. Freek Wambacq.. 14 September—26 October, 2013.. 14 September—26 October, 2013.. Morten Norbye Halvorsen.. Alluvium.. It’s one of many equations:.. Analogue tape denigration + speed = the abrasion necessary to model audio field recordings into fields of pebbles.. Grated, rounded, and earthy, the tone is particular.. Water reverberates as weather.. Insects sound like bassoons.. For all the audio-visual denaturing in Morten Norbye Halvorsen’s solo exhibition at Objectif Exhibitions,.. is firmly grounded in nature.. Or, perhaps it’s less fixed than that.. Erosion is, after all, a complex process of conveyance, which leaves pastoral traces, as clay, silt, sand, or gravel congeal.. Water moves as it will, and reshapes the earth in its wake.. Yet these currents leave other, more symbolically valuable, traces—gold and platinum ore, gemstones.. Value lures other forces, whose prospection causes erosion of another sort—a material and relational choreography, explained away through mythology (by those who remain), and abandoned (by those who don’t) to be orated geologically.. is one such conversation.. Two HD video projections alternate on a single screen, surrounded by four speakers, which fill the basement with a marble cake of visual and auditory images, inquiry, procedures, and temporality.. Mineral time(s) within a floor plan serving a screen plan.. Halvorsen’s new plein-air film—.. Placer.. —is set in an alluvial gold field in Finnmark, Norway.. Tracking shots of forest foliage, sorted rocks, concave / convex fields, and other matter culminate with metamorphic dolomites by the Barents Sea.. “Tracking” is perhaps a fitting word for the implications Halvorsen invokes, and for the film’s subject and mythological underpinnings.. Both the imagery and sound operate as characters—at times, synchronized, at others, independently.. Vertical Belongings.. , a sequence of images slide, morph, and advance within set parameters.. 2 horizontal, 1 vertical, but all 3 overlaid in 4:3, with their configurations triggered by sounds forged in his studio.. And this procession of dislocated information alternates with.. on loop—cycling bits of paper, sticks, rubber, copper, mung beans, dripping acid, and danceable square waves.. There’s a third screen, too.. Call www.. reverbarium.. com a remote repository—accessible from anywhere else.. Or call this website an ongoing publication—a depot for rebooting and reanimating desktop sedimentation.. Morten Norbye Halvorsen (b.. 1980, Stavanger, N; Lives in Berlin, DE) attended Falmouth College of Arts, UK, Kunstakademiet, Trondheim, N, and received a Pavilion residency at Palais de Tokyo, Paris, FR (2010-11).. He has exhibited his work in group and solo exhibitions at the 55.. th.. Venice Biennale, IT (2013); Fondation d’enterprise Ricard, Paris, FR (2012); the Mindaugas Triennial, Contemporary Arts Centre (CAC), Vilnius, LT (2012); Galerii Noorus, Tartu, ES (2012); HIAP, Helsinki, FI (2012); Frutta, Rome, IT (2012); Kunsthall Oslo, N (2011); Gaudel de Stampa, Paris, FR (2011); Centre Pompidou, Paris, FR (2010); South London Gallery, UK (2010); Artists Space, New York, US (2009); and New Langton Arts, San Francisco, US (2008); among others.. Objectif Exhibitions would like to thank the Office for Contemporary Art Norway (OCA) for supporting this exhibition.. Freek Wambacq.. Rain after snow.. (+ thirteen locations in Antwerpen).. 13.. 14.. 15.. 16.. 17.. 18.. 19.. 20.. 21.. 22.. 23.. 24.. 25.. 26.. 27.. 28.. 29.. 30.. 31.. 32.. 33.. 34.. 35.. 36.. Sound is a reflective medium.. It requires space.. And sound, once sited in space, gains resonance, disseminates, and creates context.. It’s a trail to follow.. Starting from the ground floor at Objectif Exhibitions, Freek Wambacq’s solo exhibition.. will echo throughout Antwerp through subtle interventions within more than a dozen different locations.. A “landslide” at the National Bank, “gunfire” at the library, “rustling leaves” at the hearing aid shop—Wambacq installs sounds in charged sites, yet in an understated way.. The sounds, however, are only implied.. , Wambacq departs from his well-known series of tabletop still lives, which comprise common household objects selected for their uncommon usage in the production of cinematic sound effects.. Within a controlled “Foley” studio environment, a stack of gloves becomes a flock of birds; a battery-powered sex toy becomes an earthquake; soggy antelope skins become oily brushstrokes; or a stalk of celery becomes a cracking human femur.. Yet by arranging these objects into suggestive configurations, Wambacq focuses primarily on their sonic potential, rather than their visual allure, as well as on their relative linguistic capacities—alliteration, onomatopoeia, puns and, in particular, their narrative potential.. Here, there, and there, Wambacq pushes them off the table and onto a map, which can be followed through an archipelago of generative contextual pairings.. When rain follows snow, it can be a slippery affair, but these slippages in meaning—and attention—are where a walk becomes something far more ambulatory than locomotion.. Objectif Exhibitions, Kleine Markt 7-9/26, 2000 Antwerp (salt, cornstarch).. Roaring fire (hot air).. Kapsalon Duden, Kloosterstraat 82, 2000 Antwerp (cellophane foil).. Spontaneous glass breakage.. Thissen Biljards, Van Wesenbekestraat 51-55, 2060 Antwerp (bar chimes, whiskey bottle).. Cracking chicken bones.. De Blauwe Hond, Scheldestraat 31-33, 2000 Antwerp (celery).. Opening door, closing door (in the desert).. Plantentuin, Leopoldstraat 24, 2000 Antwerp (door handles).. Sudden gusts of wind.. Basic-Fit, Oudaan 15, 2000 Antwerp (nylon cloth, bicycle).. Cuckoos and warblers.. H.. Goedleven Klokkenmaker, Wolstraat 28, 2000 Antwerp (leather gloves, dusters).. Landslide.. Nationale Bank van België, Leopoldplaats 8, 2000 Antwerpen (electric toothbrush) closed to the public.. Rustling leaves.. Lapperre Hoorcentrum, Mechelsesteenweg 25, 2018 Antwerp (audio tapes).. Painting oil portraits.. De Groene Oase, Everdijstraat 23, 2000 Antwerp (chamois leather).. Herd of horses.. Kulminator, Vleminckveld 32, 2000 Antwerp (halved coconut shells).. Sporadic gunfire.. Openbare bibliotheek Sint-Andries, Sint-Andriesplaats 22, 2000 Antwerp (clipboards).. Hitting, knocking, slapping, punching.. Beenhouwerij Van Dun, Nationalestraat 101, 2000 Antwerp.. Sheet lightning and rumbling thunder.. Kledingatelier, Nationalestraat 138/11, 2000 Antwerpen (sheet of stainless steel).. Freek Wambacq (b.. 1978, Brussels; lives in Brussels and Amsterdam) graduated from Sint-Lukas Brussels University College of Art Design, BE (2000), where he worked in the experimental studio.. He has presented his work in solo exhibitions at (SIC), Brussels, BE (2012); Museum M, Leuven, BE (2011); Kunstlerhaus Bethanien, Berlin, DE (2011); and.. Elisa Platteau.. , Brussels, BE (2009).. ; as well as in group exhibitions at Askeaton Contemporary Arts, IR (2013); Smart Project Space, Amsterdam, NL (2012-13);.. Galerie Catherine Bastide.. , Brussels, BE (2012); M HKA, Antwerp, BE (2012); Spazio A, Pistoia, IT (2011); Casino Luxembourg, LU (2011); Queen’s Nails Projects, San Francisco, US (2009); among many others.. In 2011 he received the Young Belgian Painter’s Award from ING.. 3 August, 2013 / 24 May—.. 1 september, 2013.. Post Brothers.. Post Office.. (With AIR Antwerpen).. Pathologically productive, Post Brothers is a spasm—Bataille’s “accursed share” personified.. Like any good cartoon, Post Brothers appears to operate outside the laws of physics.. Like a machine, he foregoes exhaustion and goes well beyond what’s seemly, expected, or even seemingly useful.. Post Brothers: “a critical enterprise that includes Matthew Post.. ” Indeed, he is enterprising, but in an anti-entrepreneurial way.. For one thing, he writes (generously).. Give him a word count of 2,000 characters and 20,000 words appear.. Yet “writer” is too limiting.. Post Brothers threads disciplinary fringes—artist, curator, critic, collaborator, collector, crackpot academic—to question, exaggerate, and deconstruct forms of knowledge construction and circulation, even to the point of collapse (ours, his, both).. Based in a decommissioned freight elevator in Oakland, California, but working internationally, Post Brothers is an increasingly peripatetic character.. Accordingly, Post Brothers will spend this summer transforming the decommissioned elevator in our basement storage space into.. Post Office.. —a European outpost, a permanent work, a static vehicle for circulating ideas, and one of the many results to come from his three-month residency at AIR Antwerpen.. Post Brothers (b.. 1984, Los Angeles; lives in Oakland, California) is a critical enterprise that includes Matthew Post—an independent curator and writer often working from an elevator in Oakland, California.. Post Brothers received an MA in Curatorial Practice from the California College of the Arts, San Francisco (2009); and a BFA from Emily Carr Institute, Vancouver (2006).. He is currently in residence at AIR Antwerpen, and was a resident at CCA Ujazdowski Castle A-I-R Laboratory, Warsaw, during which he curated.. Clinamen.. at Xawery Dunikowski Museum of Sculpture (Krolikarnia), Department of the National Museum, Warsaw (2013).. Post Brothers works occasionally as a “dis-embedded operative” for Objectif Exhibitions (2012-16).. He has curated exhibitions and presented lectures and projects in Poland, Mexico, Canada, the United States, Germany, Austria, Belgium, and China, where he contributed a video and an unrealized screenplay in the.. (2012).. His essays and articles have been published in.. Annual Magazine.. ,.. the Baltic Notebooks of Anthony Blunt.. Cura.. Fillip.. Kaleidoscope.. Mousse.. Nero.. Pazmaker.. Punkt.. , and.. , as well as in artist publications and exhibition catalogues.. 6 July—14 September, 2013.. Summer.. Objectif Exhibitions will be closed for the summer after 6 July.. Post Brothers will remain in Antwerp to work on.. , as part of his residency at AIR Antwerpen.. From 2-5pm on Saturday 14 September, Objectif Exhibitions will return with two new solo exhibitions by Morten Norbye Halvorsen and Freek Wambacq.. And of course our ongoing exhibitions.. by Nina Beier and.. by Frank Chu will also reopen.. We hope to see you then.. 8 June, 2013.. Tyler Coburn.. I’m that angel.. Tyler Coburn’s.. I’m that angel.. takes shape as a cut in the stream—a.. stony stone.. It looks and functions like a book, but its format goes further by shoring up the paraliterary, confessional, and epistolary precedents for our virtual vernaculars.. Designed by Eric Nylund,.. is.. inattentionality.. as method: a concretization of found quotes, asides, notes, thoughts, and rants.. Yet it is also a cycle of writings and public readings narrated from the perspective of a “content farmer”—an emergent type of online journalist contracted to generate articles based on words peaking in Google Trends.. These readings help us think about the conditions of how we work on and against the computer.. On some occasions, reader and audience occupy sites that compose the physical form of the Internet—for example, those sprawling warehouses filled to capacity with servers.. Or the readings are paired with video documentation of server floors to temporarily invoke the data center within the art institution.. In each scenario, Coburn discloses securitized spaces in which reader and audience already reside, for we encounter the material doubles of our virtual subjectivities as data stored in server form.. Better by far than conceding to the seeming intractability of cognitive capitalism, Objectif Exhibitions invites you join us from 6-8pm on 8 June 2013, as Coburn presents an alternative—.. Tyler Coburn (b.. 1983, New York; lives in New York) received his B.. A.. in Comparative Literature from Yale University and his M.. F.. from the University of Southern California.. He has presented his work at the Institute of Contemporary Arts, London (2012); LA ART, Los Angeles (2011); the Whitney Museum of American Art, New York (2010); FormContent, London (2010); and SculptureCenter, New York (2009).. 25 May—6 July, 2013.. Angie Keefer.. Who's there?.. (extended hours: 2-10pm, Wed-Sat).. Why bother?.. , 2013.. 16mm film, color, no sound; 16mm projector; clear looper; projection stand; rear projection screen; window; courtyard; extended hours; mediators; vinyl wall label; fluorescent lights.. 2’45” loop, dimensions variable.. edition of 6.. title variable.. Angie Keefer (b.. 1977, Huntsville, Alabama; Lives in Hudson, New York) graduated from Yale University, New Haven, Connecticut (1999).. As an artist, writer, amateur engineer and occasional librarian, Keefer s speculative non-fiction traces circuitous routes through specialized information.. She has recently exhibited, staged, taught, or otherwise produced at Office for Contemporary Art (OCA), Norway (2013); Witte de With, Rotterdam (2013); Yale Union, Portland (2013); São Paulo Biennial, Brazil (2012); Museum of Modern Art, New York (2012); The Banff Centre, Canada (2012, 2011); Kunsthal Charlottenborg, Copenhagen (2012); Artists Space, New York (2011-12); and Contemporary Art Centre (CAC), Vilnius (2011); among others.. In 2010, Keefer co-founded The Serving Library, a not-for-profit artists organization dedicated to publishing and archiving in a continuous loop, and is co-editor of The Serving Library s bi-annual publication,.. The Bulletins.. This exhibition will be viewable in alternate states during normal hours, from 2-6pm Wednesday through Saturday, and during extended hours, from 6-10pm Wednesday through Saturday.. Spanning six-weeks, this is the first of three iterations, which will extend into 2014.. Antanas Gerlikas.. Waif Shadow.. A palm tree, an eye, and the elongated reiteration of that tree—even without a pen, don’t the abstractive properties of a shadow offer interesting dysmorphic representations? Part of the point is the line’s different in reverse.. If this drawing by Antanas Gerlikas is read as a glyph, then perhaps its author asks us to push our shadows into less symetrically palindromic dimensions, and see them not as doubled trails, but unique contorted spaces.. In any case,.. Palm Tree.. will not be on display in.. Waif Shadow.. Or, it will be—not as itself, but through a sinuous re-articulation.. Rope.. Absent, the drawing is not reduced to a study; it already served as an alternate means of communication, as a non-verbal explanation, a conceptual lasso, and an esoteric diagrammatic floorplan for Gerlikas’ solo exhibition in the basement of Objectif Exhibitions.. A signature is a trace of singular presence, an agreement of terms—contractual glue—but if it has a shape, does its perimeter also outline a space? Dogs faithfully trail their owners, and play fetch with enthusiasm, but if a stick can also provide a measurement of movement independent of the dog, can it be something other than a stick? Such questions arise through Gerlikas’ transmutation of forms, images, ideas, and even V-shaped dreams into text, into sound, into two- or three-dimensions.. He dots the basement with conundrums, and they take time to crack.. Yet the parenthetical space between two versions of the same video offers a clue: a grouping of anonymous heads obstructs an exterior view of earth and displaces the sun by disrupting its implied location.. The earth doesn’t rotate, but the alien presences of its dislocated receivers eviscerate the earth’s form incessantly through a proximal, luminescent, and temporal overlay.. They are shadows, not shadowed.. Antanas Gerlikas (b.. 1978, Plungė, Lithuania; Lives in Vilnius) graduated from Vilnius Academy of Fine Arts (2007).. His work has most recently been presented in group exhibitions at ART IST KUKU NU UT, Galerii Noorus, Tartu (2012); The Gardens, Vilnius (2012); HIAP, Helsinki (2012); Contemporary Art Centre (CAC), Vilnius (2012); and Frutta, Rome (2012).. His dreams have been disseminated from the Lithuanian Pavilion, 55th Venice Biennale (2013); and his videos have travelled to more than 30 international venues through.. PROJECT 35 VOLUME 2.. 18 May, 2013.. Gintaras Didžiapetris.. Color and Device.. “A compact disc, or CD, is one of the most iconic technologies of our time.. It’s an optical laser disc, its shape reminiscent of a retina.. Information is recorded into a spiral-shaped track whose density causes the diffraction of light.. Thus the surface of the disc emanates a characteristic glow displaying a full spectrum of visible colors.. Abstraction is both informed by the world and learned—a concrete and known part of reality that exists and is shared within different contexts and with many degrees of complexity.. Abstraction and reality, in the end, are two degrees closer to one another than imagined.. ”.. —excerpted from public announcements circling.. Color and Device.. Gintaras Didžiapetris is an artist.. On 5 April 2013, the most comprehensive solo exhibition of his work to date opened at Contemporary Art Centre (CAC), in Vilnius, Lithuania.. It’s called.. , and it’s coming to Objectif Exhibitions, Antwerp.. Yet here, it will take on a more compressed form, towards a different sort of comprehension.. From 12:00—9:00pm on 18 May, Didžiapetris’ trilogy of 16mm films and corresponding posters will be screened and exhibited, consecutively, and for one day only:.. Optical Events.. , 2010.. 16mm film, color, no sound.. 3’33” min.. , loop.. (On view from 12:00—3:00pm).. delivers its promise—a silent series of optical events.. Framed, recorded, printed, projected, and received, these interior and exterior images form a unit, but it’s divisible.. It’s elastic.. The film can begin on any frame.. The film begins on every frame.. There’s still an elliptical glyph to deal with.. Perhaps it’s a leading question.. Or is it a signal—an inception point for applying or extracting narratives? Perhaps its sharp perimeter points to the many other perimeters seen within the film—etching an overlaid lattice into our eyes, rounding up the decimals to a less fractured digit (softening the edges)?.. A Byzantine Place.. , 2011.. 4’22” min.. (On view from 3:00—6:00pm).. What results from Florentine epiphanies finding their Livornese counterparts in a mosaic of unlikely icons?.. Complicated.. Ornate.. Transit.. , 2012.. 16mm film, black-and-white, no sound.. 10’25”, loop.. (On view from 6:00—9:00pm).. Vehicles, information—frames.. From New York to Naples in black-and-white, the absence of color has an equalizing affect, but so too does the speed in all of this.. Not reducible to the looping travelogues of a wandering eye, it’s something closer to a carrier—of the ambulatory nature of people and, in particular, how people use things: systems, trains, cars, feet, strollers, waiters, escalators, printers, lights, carts, plates, banks, sales pitches, roles, assembly lines, eyeglasses, computers, shorthand, and so on.. Towards the end of the film, a human silhouette changes the perspective.. Demarcation, blockage—what does the absence caused by this singular presence tell us? Do we see our systems and relations congeal in an inverted shadow trailing us, rather than the other way around? Is singularity a clog in the system? Or, looking around the obscured head—to its edges—perhaps the networked staccato pulse that surfaces out of that head’s blurred periphery is what we should be listening for.. Maybe a simple repositioning of the neck is all we need to get of the way of the right view.. Three different versions of this exhibition are being presented in 2013 at Contemporary Art Centre (CAC), Vilnius, Objectif Exhibitions, Antwerp, and Villa Croce Museum of Contemporary Art, Genoa.. 11 May, 2013.. David Kasprzak.. Bruce Conner.. “I’d like a piece of the reel.. There’s a spool of 16mm film hanging on a nail behind a cash  ...   was quite amazing, but what else can be expected when going through a forest, trying to just simply look and not write? We think we found some leads.. Darius might disappear on a boat into virtual reality, or into the patent office.. PB: There’s no fixed path for the project, as it involves progressively going forwards and returning, which I think is a good way to think about research sometimes.. You’re letting the site determine the next step—like the rows of the trees growing back into a forest they never were before.. CF: Right, it’s a machine becoming nature.. It doesn’t want to be orderly.. It’s a forest.. And it’s already interesting, that’s the thing.. So it takes little more than a couple steps to create an event for the forest to be exhibited—the challenge here is to do as little as possible in the face of so many possibilities.. The project is very much following that trajectory, and slowly.. I’m not sure if the 2013 trip will be a culmination or a continuation.. PB: This potentially endless procession, this “boustrophedonic” movement, and its potentially endless development, along with the idea of having multiple futures, make me think of your repeated work with Frank Chu—professional protestor and intergalactic movie star.. He’s an alien in an already alienated world.. CF: His conceptions of time, space, corporality, and dimensions are vast to say the least.. PB: He seems to exist in multiple places and times at once.. Each day, he protests in San Francisco, with his signs, to inform us all of his labor dispute about royalty rights for his unwilling participation in an intergalactic reality TV show—.. CF:.. PB: —which continues to be filmed on earth.. CF: In what he calls “live performances” of his protests—.. PB: —which are screened and syndicated through galaxies we didn’t know existed.. So, all at once, we have Frank the person in San Francisco or Oakland, California, and his reproduced images from the past and present, on earth and in other galaxies, existing in a cosmic future.. CF: Other than the almost imperceptible circulation of a footnote I found on an old business resume of Frank’s, we started his exhibition without “showing” anything material.. His life is an exhibition.. In 2013, we’ll have a slow procession of signs on display, but this year, we haven’t been exhibiting his daily activities in any traditional manner.. Instead, we’ve been exhibiting his work simply by recognizing that it exists and is already being displayed elsewhere.. He doesn’t need an institution to exhibit his work because he is an institution.. PB: —and far more mobile.. CF: Frank told me he is a reincarnation of the last emperor of China.. The Chu dynasty.. History doesn’t often speak of a Chu dynasty, so that’s one of many other histories he has implicated.. He primarily protests in San Francisco, so people compare him to Emperor Norton, but that frame of reference squares him in simply as an eccentric.. I see him as an artist.. Actually, I see more of André Cadere in Frank’s work—informational codification, public presentation, parasitic inhabitation of other events, and so on.. PB: He willingly exhibits his work everyday, enters it into other frameworks, and he is also exhibited at all times, unwillingly.. CF: Maybe he’s a counter-exhibitionist.. He’s being filmed all the time by what he describes as “top-secret hidden cameras that disappear into thin air”, and yet he’s actively trying to be filmed by legitimate news cameras or amateur videographers to talk about the fact that he’s being filmed.. He knows every cameraperson, news reporter, and knows on which date he was published in which newspaper.. PB: Is it a fact that he’s being filmed?.. CF: Is it a fact that he’s constantly receiving messages telepathically from his allies—the former Soviet and UN presidents? Is he also constantly enduring telepathic mental sabotage from his enemies—the 12 GALAXIES and their various nefarious networks on earth and across the 1000 GALAXIES? Whether fact, allegory, or indicting symptom of an abysmally flawed social system and pervasive media culture in the US, the 12 GALAXIES are real because their effects on Frank are real, legible, and relentless.. I’ve seen it firsthand: discrimination, harassment, violence, and bribery.. For example, I think the security staff at the Westin Bonaventure Hotel in Los Angeles is definitely working with the 12 GALAXIES.. CF: I went back to San Francisco to work on the San Francisco pavilion for the.. And one of the artists I included was Floris Schönfeld, who was also interested in Frank.. Floris and I met with Frank over chicken teriyaki for several days.. Frank didn’t want to go to Shanghai because he doesn’t like to travel, but he hadn’t been to Los Angeles in some time.. Since Universal Studios works in collusion with the 12 GALAXIES populations, we decided to drive down to LA and visit Universal Studios—we’d take a vacation, but also produce a video.. Since Frank is being filmed all of the time for.. , Floris and Frank decided to film a simultaneous episode, and entangle the two.. We entered their episode, which was altered by ours.. It seemed appropriate that we stay at the Westin Bonaventure because.. Blade Runner.. was filmed there.. On our last day, Frank knocked on the door of my hotel room, and was visibly frazzled.. The hotel security had harassed Frank, profiled him, and even tried to trick him by saying his room number didn’t exist.. He produced his key and my business card, since I booked the room, but they still followed him into the bathroom and tried to break down the door of his stall.. All Frank did was post a letter in the lobby.. PB: And you confronted them.. CF: Of course, and as you can imagine, the head of security was a typical tough guy.. The only thing missing were the bolts in his neck.. He and a slimy manager—who thought offering us a free breakfast would make things right—tried to turn it all around on us when they noticed Floris filming me from across the lobby.. They made Floris erase the footage, but they weren’t too bright.. I emphatically refused the breakfast, and we kept the footage.. PB: Did you wear a wireless microphone?.. CF: We never stopped recording.. PB: And if they find out and take you to court?.. CF: They won’t.. Frank would get paid, and we’d have a field day in the media.. PB: For Frank, was it an isolated incident, or was this the work of the 12 GALAXIES?.. CF: 12 GALAXIES, of course.. PB: I’m realizing that Frank’s entire existence is inseparable from his work.. His conspiratorial reality is fully integrated with everything he does and everything that happens to him, and that would include his serial signs, the video coverage he gets, the letters he writes to the media, the voicemails he leaves on their hotlines, his televised appearances, and the articles written about him.. They are all traces within his story, but it seems that when his signs appear in exhibitions without his presence—without his activation—they can only ever be markers for the broader work he does.. CF: Right, like I said, he doesn’t like to travel, so the signs can’t be activated that way in Antwerp.. We’ll show them and talk about them.. It’s an exhibition that will slowly filter in and out of our physical premises in a variety of guises.. PB: As if tuning in, but always on—like TV waves?.. CF: I don’t care about protest posters.. I’m not interested in commodifying dissent, institutionalizing it, or fetishizing its material culture.. For me, Frank’s signs are something else, much more.. His exhibition is a period to work though just what that is exactly.. We may have a sign on display, we may have a whole space full of them, we may host a screening, call a linguist, read a letter, write a book, or there may be nothing to see at all, but as you say, it’s always on.. PB: As long as he keeps going?.. CF: His plight will likely outlast the programme, but yes.. PB: Here there is again this sensitivity to the artist’s practice—this role of just pointing unless another mode is deemed necessary.. It’s an unusual way to “exhibit” someone’s work.. But I think what is important here, especially for Frank, is exactly that.. you’re.. curating it.. You know that he’s not just some comically eccentric figure, while so many others can’t get past what they perceive to be psychological and physical difficulties.. CF: This is a longer engagement for me.. Frank doesn’t self-identify as an artist exactly, so he gets what he calls “campaign donations” from us and I purchase his signs so he can make new ones.. PB: When you were working with Frank on the biennale, you made a deal with Signographics in San Francisco.. CF: They agreed to produce a certain amount of Frank’s future signs for free in exchange for a sponsorship placement in the biennale’s catalogue.. Frank has been calling in his terminology and instructions to Signographics for years.. I think of them as his studio, as his fabricator, so to speak.. It’s all just an attempt at non-patronizing patronage.. I’m not a psychiatrist.. Whether Frank has a condition or not, whether there really is an intergalactic trans-temporal conspiratorial network embezzling his royalties as a movie star or not, what he is doing is worthy of recognition.. Bottom line.. PB: What’s going to happen in 2013 at Objectif?.. CF: We’ll see a major shift in Nina’s exhibition, more from Frank Chu, the conclusion of.. , the redistribution of.. , an event in Antwerp’s pedestrian tunnel, plus we are planning seven six-week exhibitions, a one-day exhibition with the first and only screening of the remaining part of an unknown Bruce Conner film, a three-day exhibition of film loops, which will remotely extend and disrupt a longer exhibition in Vilnius, a summer residency in collaboration with AIR, and a scattering of occasional elliptical events, talks, screenings, and intercom telephone conversations presented in ways that privilege those who maintain the right proximity, plus the release of our first annual publication.. We’ll be making four of these—one for each year while I’m here.. Each publication will look back on everything we did in 2012 through new texts by Julian Myers-Szupinska and Alex Ross, a group-interview with the artists who exhibited in 2012 by Jonas Zakaitis, as well as plenty of photographic documentation.. PB: Two Futures.. (This interview was recorded in Antwerp on 25 November, 2012).. Post Brothers is a critical enterprise that includes Matthew Post—an independent curator and writer often working from an elevator in Oakland, California.. Post received an MA in Curatorial Practice from the California College of the Arts in San Francisco and a BFA from Emily Carr Institute in Vancouver, Canada.. He has recently presented curatorial projects at Galerie Kamm, Berlin (2012); Proyectos Monclova, Mexico City (2011); and Yerba Buena Center for the Arts, San Francisco (2010-11); among many others.. He also included both a video and an unrealized screenplay in the.. Post’s essays and articles have been published in.. , and the.. Baltic Notebooks of Anthony Blunt.. From February until May 2013 he will be in residence at A-I-R Laboratory, Warsaw, and from May until August 2013 he will be in residence at AIR, Antwerp in collaboration with Objectif Exhibitions, Antwerp.. 23 December, 2012—4 January, 2013.. Winter.. Objectif Exhibitions will be open as usual through 22 December, 2012.. Then we will close briefly for the holidays and reopen on 5 January, 2013, with.. Voltaire s Armpit.. by João Maria Gusmão and Pedro Paiva back on display until 12 January, 2013.. 6 December, 2012.. JOÃO MARIA GUSMÃO PEDRO PAIVA.. 17 November, 2012—12 January, 2013.. 17 November, 2012—12 January, 2013.. João Maria Gusmão & Pedro Paiva.. Voltaire's Armpit.. [VIEW.. PDF.. BY THE ARTISTS].. Extending from the strangeness of an outstretched arm,.. Voltaire’s Armpit.. is a tripartite zone of naturalist inquiry—an axillary intersection, where ten silent 16-millimeter films by João Maria Gusmão and Pedro Paiva have been spliced into three physical and temporal proximities to constellate biological and technical comparisons, philosophical demonstrations, psychological illustrations, and para-scientific observations throughout Objectif Exhibitions.. PROJECTOR 1.. Disproportionately large, and “flying” at a pace incommensurate with the verb, a series of bees traffic more than pollen as they round Euclidean corners and land us.. within.. representation—into the very constructs (and distortions) of sight, into representation’s entanglement with ideation.. In another film, a metallic instrument—a pendulum, despite any anthropomorphic semblance—ticks hypnotically.. Yet cropped and temporally petrified, its metronomic sweeping appropriately denatures both the mechanical approximation of time and its visual registration.. An underbelly passes overhead through a third film.. Cars are constructed to our measurements—a prosthetic, but a human tool, specifically.. Yet from this inverted orientation, what passes is something meteorological.. We’re watching clouds roll and, with them, the transmission of esoteric and exoteric knowledge, simultaneously.. Circular motion, a detached backlit hand, a series of eclipses and flares, and the accrual of focus eats obfuscation.. More than how a fish sees its world, the encroaching definition in this fourth film brings a bringing into view into view.. So, overlooking or overwriting? That question seems to hover as the mechanics of vision meet the mechanisms visualized.. And this extends to a fifth film.. From parallactic vantages of varying interiority or complicity (and all edited within the camera), we study a watermill as that watermill—fixed to, and spinning with, its wheels, water, belts, levers, and other components, or from outside these machinations (but that proximity fluctuates as one image’s opacity ruptures another’s).. PROJECTOR 2.. A man climbs the film, as if slowed beyond gravity, one reeling frame at a time.. There’s something entomological about his ascent—his armpits, the insides of his elbows, and the backs of his knees, appear equalized.. Yet Occident’s illusive gate springs to mind.. And speaking of Muybridge, a disrobed woman seems to have walked out a photograph and into another film by Gusmão and Paiva.. Photographed at 1000 frames per second, the film’s somnambulant qualities amplify the contradictory significance of her destination.. Motion / stillness,.. poeisis.. / obfuscation / instrumentalization—entering bed, pulling a sheet over herself, her veiling extends to the inherent fogginess of technological disclosure, and refutes its promises.. Yet when a turtle extends its head into this mosaic of films—otherwise populated solely by humans—its reptilian physiognomy emerges as some sort of spectral inhuman birth.. Alien obstetrics.. It cocks its head to its left for a better view with its right eye, and sees the world a first time.. The world can be disappeared, too.. Children know this, as do their mothers.. In a fourth film, two young girls and their mothers engage in a familiar, and seemingly innocuous game.. Projected at so enervated a pace, it plays out just slowly enough for an illustrative underscoring to surface—does this heuristic exercise point to a certain solipsistic orientation, a certain fixation on repetition?.. PROJECTOR 3.. A room, visible from a fixed vantage point, hosts a stainless steel pot, which contains boiling water—soup.. Simians appear.. They negotiate the space of the soup—the room, the soup, its container, and the heat emanating from the pot.. Its heat, invisible, is made visible nonetheless through a series of interactions with the soup.. Meanwhile, one simian subject, perhaps seeing a turnip for a turnip, is far less deterred.. Appearing in the foreground, do the simians see us, or do they see the mechanism through which we see them? For us, perhaps the visual effect is the same.. Yet here, in the basement at Objectif Exhibitions, they appear to materialize from the projector onto the wall, into our eyes, to be registered in our brains.. Prescient, their point-blank inquiry suggests some note of awareness.. Sentient, do they provide a simian mirror of ourselves—squinting, with arms raised to involuntarily scratch a brain?.. The films loop, the projectors resound, and meaning is elaborated from one film to another, from one floor to the other—by existing, and existing in particular propinquities.. Is this a macroscopic montage of the technical and biological world or, inversely, a boomerang back into the eye? And through all of this, does Gusmao and Paiva’s fixation on the enigmatic movements of the human arm come into focus not as an axiom, but as an axis, upon which their images and ideas rotate and implicitly amalgamate into something metaphysical, philosophical, absurd, and tellingly productive? Have the peculiarities they’ve found in (or through) the human armpit offered the artists a conjectural black hole where all questions—and, with them, their answers—are subsumed?.. João Maria Gusmão (b.. 1979, Lisbon, Portugal; lives and works in Lisbon) and Pedro Paiva (b.. 1977, Lisbon, Portugal; lives and works in Lisbon) began collaborating in 2001 while studying painting together at the Lisbon Fine Arts School.. Prior to Objectif Exhibitions, their work has been exhibited in solo presentations at Fri Art, Centre d’art de Fribourg (2012); Kunstnernes Hus, Oslo (NO) (2012); Kunsthaus Glarus (CH) (2012); Museo Marino Marini, Florence (IT) (2012); IMO Projects, Copenhagen (DK) (2011); Ikon Gallery, Birmingham (GB) (2010); FRAC Ile-de-France Le Plateau, Paris (FR) (2011); the 53rd Venice Biennial, Venice (IT) (2009); and the Wattis Institute for Contemporary Art, San Francisco (USA) (2008); as well as numerous other solo and group exhibitions internationally.. 2 November, 2012.. Filling our reading glasses with Rosalind Nashashibi.. (At Taverne Espérance).. Friday, 2 November—we hope you ll join us in Brussels, as we fill our reading glasses with Rosalind Nashashibi, Raimundas Malašauskas, and the latest issue of.. Drawing Room Confessions.. Taverne Espérance.. Rue du Finistère 1-3.. 1000 Brussels.. 8-10pm.. Rosalind Nashashibi is an artist.. She graduated from Glasgow School of Art in 2000, and has participated in group and solo exhibitions including: “Contemporary Archeologies” (with Lucy Skaer), Musée du château des ducs de Wurtemberg, Montbéliard (2012); “Telling everything, not knowing how”, CA2M Centro de Arte Dos de Mayo, Madrid (2012); Sharjah Biennial, United Arab Emirates (2011); “Woman Behind a Cushion”, Tulips and Roses, Brussels (2010); “Repetition Island”, Pompidou Centre, Paris (2010); Manifesta 7, Trento (2008); “Scotland Venice”, 52nd Venice Biennale (2007); “Pensée Sauvage—On Freedom”, Kunstverein, Frankfurt (2007); and “Displaced”, Hammer Projects, UCLA Hammer Museum, Los Angeles (2003).. In 2003, she was the first woman to win the Beck’s Futures prize, ICA, London, for her film.. The State of Things.. (2002).. is a new printed journal named after a parlour game played by Marcel Proust, the Surrealists and others.. It is made of words and exchanges, with no images.. Six different sections (.. The Egoist, The Blind Man, Two to Tango, Ekphrasis, Time Line.. and.. La Madeleine.. ) comprise the Rules of the Game, which are the same in each issue.. What changes are the players, or interviewers, who open each round of conversation with the featured artist and who come from a wide range of fields.. (co-presented with.. Tulips Roses.. , Brussels).. 25 October, 2012.. CHOSIL KIL.. 22 September—3 November, 2012.. 22 September, 2012—30 March, 2013.. 5 Hz.. Time is like that—both point AND duration.. This is how it can bend and warp.. A week, a second, a season: all are specific and discrete, but none are the same.. The present can be cut to any number of lengths, from a single vibration of a cesium atom to the display cycle of a digital timepiece.. is a reverse-engineered Casio digital watch.. A tiny computer replaces the existing electronics and has been reprogrammed to slowly render the current time from left to right across its liquid crystal display, completing 1 cycle every 2 seconds.. You ll notice that reading this watch requires more attention than usual, as the seven segments of each digit are lit one by one across its display.. This speed may be adjusted until it reaches.. the limits of your perception.. You and your watch are now in tune.. Watch Wyoscan 0.. was adjusted by Dexter Sinister and produced by Halmos with support from Objectif Exhibitions, Antwerp, and Yale Union, Portland.. http://www.. halmos.. us.. com.. View PDF.. 29 July—22 September, 2012.. Objectif Exhibitions will be closed for the summer after 28 July.. From 6-8pm on Saturday, 22 September, Objectif Exhibitions will return with two new solo exhibitions.. Chosil Kil s.. will be on display in both our ground floor and basement spaces for six weeks, but will involve a new permanent intervention lasting well beyond the current program.. Meanwhile,.. , will be worn on the director s wrist for six months, in and out of Objectif Exhibitions, constantly.. by France Fiction will also reopen.. 18 July, 2012.. Camping.. We relinquished our keys.. On 18 July, Chosil Kil, Peter Meanwell, and Francesco Pedraglio traveled from London to Antwerp to camp overnight inside Objectif Exhibitions.. Resolute about sleeping on the concrete floor, they first scavenged the premises—a tablecloth, foam sound baffling, two bench cushions, an inflatable, and so on.. By request,.. was left looping all night, so Kil, Meanwell, and Pedraglio could stay warm underground from the virtual fires in Anna Franceschini’s films, while searching for the most acoustically reflective positions.. Morning came and bore traces: ramshackle, hospitable plush sculptures, a long, narrow strap of leather wrapped around a pillar.. They left with a reverberant audio recording, and played it back during a reading in Kassel, as part of.. dOCUMENTA (13).. 8 July, 2012.. Boustrophedonic Procession (Research).. (At Parkbos Antwerpen).. Darius Miksys and Jennifer Teets entered Parkbos Antwerpen to think about the possibility of a boustrophedonic procession with Chris Fitzpatrick.. Boustrophedon is an ancient form of bi-directional inscription, in which every other line alternates in the opposite direction, with the characters reversed—a wrapping.. Etymologically, boustrophedon comes from Greek, meaning, as the ox ploughs (and, by extension, relates specifically to how the ox turns and returns to turn again at either edge of a field).. Processions, meanwhile, have one direction.. Forward.. Parkbos Antwerpen is an artificial forest.. Entering it was an event, and the research for a future event.. And by event we mean exhibition.. Parkbos Antwerpen was exhibited, exhibited itself and is, itself, an exhibition.. It is also a machine.. After reconnoitering its orderly rows of trees and coastline for several hours, Miksys, Teets, and Fitzpatrick had touched on snails and slugs, aliens, Amazonian canopies and carbon nests, vibhuti dung, horses, rabbit cabbage, prescribed burning, sky blessings, cloud bursting, the stroboscopy of the strawberry, space suits, ambergris, leafy spore ink, vinyl scratching, sweater weaving, walking needles,.. Predator.. , the Higgs boson, facial mask ingestion, parasitical botfly gestation, Robert Musil, petroleum factories, folding letters, mushrooms and sponges, dogs, dolphins, seasons, Flemish painting, parkour, cruising, paradoxical corporality, plant defense, doubling, reversing, reenactment, grids, antennae, anthropocentrism, artificial intelligence, ox-turning and Safaitic/Sabaean/Greek/dot matrix mirror-scripts, among other things.. No audience was invited.. The event was documented, but the resulting video is not a secondary compensatory record.. Sure, it s a mnemonic device for Miksys, Teets, and Fitzpatrick, but video traffics well.. It s a generative tool—for remote orientation, ice-breaking, and recruitment.. Indeed, they will return in 2013, with others.. 26 June—22 September, 2012.. LAURA KAMINSKAITĖ.. Exhibition.. Opening unannounced, Laura Kaminskaite’s.. paired two diminutive interlocutors.. And since 26 July, they came into focus slowly, through peripheral vision and double takes, on our office windowsill—a photosynthetic platform for a preternatural conversation.. It’s.. a conversation we can’t hear, so we called Kaminskaite on our intercom.. “While comparing language to picture,” she translated, “one late-eighteenth century grammarian defined nouns as forms, adjectives as colors, and the verb as the canvas itself, upon which colors are visible.. ” If the vase in.. Untitled (Four Walls and an Exhibition).. provides “a defined exhibition space,” the rainbow rose acts like “a chameleon, or a stand-in exhibition.. ” Asked about.. Sugar Entertainment.. , Kaminskaite correlated “the aesthetics of a white cube” exhibition space with “sugar’s ability to contain a faint but reliable record of the events it has witnessed.. ” We mentioned rumors of clairvoyants using sugar as a medium, and channeling the astral information it memorializes through their fingertips.. “Forget the fingertips,” she said, “what might be recalled if.. dissolved into coffee, or any other drink?” Each night after Objectif Exhibitions closes, “both pieces melt into darkness.. ” They “solidly occupy physical space, but lose their shape without light.. ” Meanwhile, “a sugar cube,” she added, “loses its form in a drinking glass, but the liquid’s taste possesses the content of everything dissolved within the glass—including the sugar and its information.. Hanging up the phone, we stopped thinking of Kaminskaite’s cubed crystalline carbohydrate as a cryptic documentarian apparatus, and saw it instead (performatively, expansively, rhythmically) as an amorphous machine for trans-temporal gustatory mind-travel.. Potentiality squared, cubed even.. And we stopped thinking of her injection-modified, paint-fed rose as a fragrant, effervescent, living RGB print, and saw it as a deceptively hued, palimpsestic site of inscriptive mental projection—a paradoxically blank spectrum.. closes on 22 September 2012.. Kaminskai.. te (born in 1984, lives and works in Vilnius, Lithuania).. has exhibited her work in solo exhibitions, including.. Walking in a Title.. , The Gardens, Vilnius (2012);.. , Objectif Exhibitions, Antwerp (2012); and in group exhibitions, including.. Sparrows.. , Contemporary Arts Centre (CAC), Vilnius (2012);.. An Evening with Doctor Sheppard.. Intermission.. Café Cadets de Gascogne,.. Riga (2011),.. Cēsis Art Festival, Cēsis (2010);.. The Happy Interval.. , Tulips Roses, Vilnius (2009).. 23 June—28 July, 2012.. ANTHONY DISCENZA.. What Remains.. requires time.. It’s a solo exhibition by Anthony Discenza, titled after the sole work it comprises, and presented in an empty space.. However, just because there’s nothing to see doesn’t mean that.. isn’t visual art.. It all depends on who’s listening, and for how long.. A disembodied voice is speaking—is it a lecture, an instructive manual, a guided tour, sinuous ravings, a self-help exercise? Listen hard enough and it’s possible to end up in another exhibition (of your own construction).. Yet more than any phenomenological transformation of Objectif Exhibitions itself, what Discenza offers are the conditions for an interior visualization, cognitively wrought.. Discenza’s text begins with other texts.. Fragments.. He collected and de-contextualized, sequenced and revised, dozens of descriptions of visual situations, written by other authors, about other things.. Internet search criteria = what+remains… While these recurring words provide the primary glue, Discenza applied additional binding by outsourcing the resulting manuscript’s performance to a voice actor.. So, while.. is an audio presentation of a text, its medium is just that—a medium, a middleman, a means.. A trigger.. Partially text, partially audio,.. requires whatever imagery the audio’s registration evokes.. Listening to the voice, picturing what it describes, while associating and amalgamating each shifting description, an absent subject may be continually lost, found, and invented.. 1967,.. New Brunswick, New Jersey,.. U.. ; lives and works in.. Oakland, California).. graduated from.. California College of the Arts, San Francisco (2000), and Wesleyan University, Connecticut (1990).. He has exhibited his work in recent solo and group exhibitions at venues including the Wattis Institute for Contemporary Arts, San Francisco (2012); Ballroom Marfa, Texas (2012); the San Francisco Museum of Modern Art (2012); the United Nations Pavilion, Shanghai (2010); and the.. Whitney Biennial, Whitney Museum of American Art, New York (2000).. Discenza also works with artist Torsten Zenas Burns as HalfLifers.. ANNA FRANCESCHINI.. Halation.. The visual arts is often a heliocentric enterprise, isn’t it? And so, what could be a more alluring act of light worship than going blind from staring at the sun? After discovering the phenomena of the persistence of visual impressions, Belgian physicist Joseph Plateau (1801—1883) developed uveitis and lost his sight.. Lately, Anna Franceschini has been staring at Plateau, which led her to a few other light sources.. They became films.. Plateau invented the Phenakistoscope and, with it, the stroboscopic illusion of moving images—key to the development of cinema.. 180 years later,.. could be viewed as a sublimated homage to (or, more elliptically, around) Plateau.. The three films Franceschini presents in the basement of Objectif Exhibitions are closer to visual experiments than cinema.. It’s a dark room, below ground, at a safe remove from the sun.. Two of the films share the title.. It’s All About Light (To Joseph Plateau).. The first was shot on 16mm film, transferred to video and, projected, illuminates the room with the aesthetic byproduct of night labor: blind spots.. The second, also projected in video, but shot on 8mm, again depicts the typically unseen visual residue of hard labor.. Symmetrical flame fountains, shifting perspective, a hand, and a few spare snaking acetylene flashes collide to eviscerate a monochromatic field of black (night).. A third film,.. It’s About Light and Death (To Joseph Plateau).. , is projected directly from 16mm film.. It reveals the frozen physiognomy of a taxidermied animal—a dead photographic pose, panning like a Zoetrope, one pulsing glimpse at a time (24 times per second).. Three films.. Three looping sources of light.. They’re open letters, visual impressions, and they persist.. 1979, Pavia, Italy; lives and works in Brussels) completed a residency at Rijksakademie, Amsterdam (2010), and graduated from IULM University in Milan (2006).. She received the Premio d Arte Contemporanea Ermanno Casoli award in Fabriano, Italy (2012), and the TFF/Torino Film Festival’s Distribution Award A.. V.. N.. T.. I.. (2008).. Her work has been presented in recent solo exhibitions at Ex Elettrofonica, Rome (2012); Bielefelder Kunstverein, Bielefeld, Germany (2012); and Kiosk, Ghent, Belgium (2011); as well as in numerous international group exhibitions.. travelled in September 2012 to.. ST PAUL St Gallery.. , at the School of Art and Design, AUT University, in Auckland, New Zealand.. 30 May, 2012.. An Evening Inside Four Exhibitions.. was an evening with four absent artists.. Nina Beier, France Fiction, Will Rogan, Triin Tamm.. —.. none of them were there, but others or other things were dispatched to inhabit the exhibitions in their stead.. Audrey Cottin, for example, descended deep into Triin Tamm s exhibition,.. Wasn t There Yesterday.. Cottin presented.. Can t be everywhere, can be everybody—.. a performative diptych, in which Cottin hovered around the accession forms for Tamm s traveling slideshow,.. The Carousel Collection.. Welcoming each dimly lit visitor, Cottin engaged in a series of dialogues.. Meanwhile, for two straight hours, Kassandra Stiles occupied a music stand by Tamm s projection, where Stiles slowly and repeatedly read through Cottin s alphabetically successive list of associative words and phrases—one for each slide, from Alien to Zombie.. While Cottin and Stiles simultaneously circumambulated Tamm s exhibition downstairs, two well-appointed rabbits called Luka and Vlokje explored Will Rogan s exhibition,.. Hopping, sprinting, resting, or observing, their movements offered a less anthropocentric route through a circuitous exhibition of absences, presences, redactions, and illuminations.. Luka lives upstairs.. France Fiction s.. Cabinet d ignorance.. was draped in black, but lifting the veil from the left was regularly advised—a view inverted by three kilos of crystal.. Finally, a letter to the cow in the little market arrived from an elevator in California.. Post Brothers penned four A4s about Nina Beier s four-year exhibition,.. Chris Fitzpatrick read the entire letter aloud in the courtyard, beneath the absent faces of Beier s disfigured busts (the letter was later published in the fifth issue of.. ).. 21 April, 2012—30 March, 2013.. France Fiction.. Cabinet d'ignorance.. France Fiction was founded in 2004, and includes Stéphane Argillet, Marie Bonnet, Eric Camus, Lorenzo Cirrincione, and Nicolas Nakamoto.. Operating as an exhibition space, a magazine, a curator, or a singular artist, France Fiction produces a variety of forms—from sheer formlessness to editions, from renewing the forgotten grave of Demetrius d’Exarque to producing pedagogical ink or playing marbles (with both changing rules and enigmatic conditions that affect the results).. For one year, Objectif Exhibitions will host France Fiction’s.. in its office.. The title relates to the history of display cabinets for objects with unknown functions or origins.. An office is fitting—the site of administration, meetings, paperwork, and so on.. A glass and steel vitrine, transplanted from France Fiction’s space in Paris, will provide a vehicle for disseminating other forms of knowledge, available in all of their uncertainty.. France Fiction (founded in Paris, France, 2004; consists of Stéphane Argillet, Marie Bonnet, Eric Camus, Lorenzo Cirrincione, and Nicolas Nakamoto) has exhibited its work in solo exhibitions at Objectif Exhibitions, Antwerp (2012-13); and Jeu de Paume, Paris (2011); as well as in group exhibitions at Frutta, Rome (2012); Artissima 18, Turin (2011);.. Galerie Stereo, Poznan (2011);.. ACCA, Melbourne (2011); Wysing Arts Center, Cambridge (2010); HBC, Berlin (2010); Kadist Art Foundation, Paris (2009-2010);.. Serpentine Gallery, London (2008); and Centre Pompidou, Paris (2008).. France Fiction, also a space in Paris, has.. held exhibitions and events.. for artists including.. Darius Miksys, Mark Aerial Waller, Pierre Leguillon,.. Vava Dudu, André du Colombier, and Jean Yves Jouannais.. 21 April—9 June, 2012.. Will Rogan.. Curtain.. Will Rogan exhibits twelve photographic objects in.. —yet none is a photograph exactly.. Through video, collage, sculpture, paper, or mistreated light, images are re-circulated, veiled, and obliterated.. Painted prisms, for example, are unable to refract—are they dead lenses, closed apertures, hypnotic tools? With three new light boxes, abstract forms emerge from images depicting abstract forms.. A verso lacerates its recto.. Disparate times are conflated.. Fracturing a Xeroxed image of Canadian magician Doug Henning, as he appears to fade through a brick wall, was Rogan interested in Henning s achievements or failures? And from what angle do our architectural elements erase Rogan’s redactions of Henning’s contemporaries?.. Photographically, Rogan collides mechanics and effects to correlate the lingering transcendental aspirations of art with those of magic, and positions the power attributed to artists uncomfortably against the agency of magicians.. Will Rogan (b.. Illinois, U.. , 1975; Lives in.. Albany, California.. ) graduated from University of California, Berkeley (2006), and San Francisco Art Institute (1999).. His work has appeared in solo and group exhibitions at Objectif Exhibitions, Antwerp (2012); Frutta, Rome (2012);.. Art In General, New York.. (2011); MOT International, London (2011);.. Atlanta Contemporary Arts Center (2009);.. Mori Art Museum, Tokyo (2007).. Rogan was a 2002 recipient of the SECA Art Award from the San Francisco Museum of Modern Art.. Since 2007, Rogan has co-edited.. THE THING Quarterly.. with artist Jonn Herschend, producing objects by 19 artists including Allora Calzadilla, Trisha Donnelly, and Ryan Gander.. Triin Tamm.. Wasn’t There Yesterday.. It’s a fitting title, since she wasn’t here yesterday either.. Scheduling conflicts.. Yet traces remain in the works Tamm’s assistants installed in the basement at Objectif Exhibitions.. And having so common an Estonian name, Tamm arranged for another Triin Tamm (living near Antwerp) to attend the opening in her place.. Tamm’s title is not only rooted in practicalities, but also in issues of mediation, inter-subjectivity, professional expectations, exhaustion, and freedom.. While Tamm can’t be everywhere, she’s rarely alone.. contains work by many others—invited to contribute a slide to the collection.. They will change weekly, with new contributions from people closely tied to Objectif Exhibitions.. Are the objects and ideas Tamm presents both containers and generators? If so, our basement serves well—containing, as it does, a chaotic lattice of heating pipes along the ceiling, and spreading upwards, throughout the entire building.. Paide, Estonia, 1982; lives and works) graduated from Poznan Academy of Arts (2005).. A retrospective of Tamm’s work was exhibited at OUI, Grenoble (2009), for which a corresponding catalogue was produced.. Her work has since been included in solo and group exhibitions internationally at Objectif Exhibitions, Antwerp (2012); Sans Serriffe, Amsterdam (2012); KIM? Contemporary Art Centre, Riga (2012); Corner College, Zurich (2011); Contemporary Art Centre, Vilnius (2011); HIAP, Helsinki (2011) and Contemporary Art Museum of Estonia, Tallinn, (2011).. Another Triin Tamm lives here, in the Antwerp area, working as a Prince 2-certified business advisor, entrepreneur, and certified ScrumMaster.. 11 March, 2012.. Beste Buur.. Objectif Exhibitions exhibited itself to its neighbors at Kleine Markt 7-9, by hosting an informal party for residents of the building.. 19 January, 2012.. Raimundas Malašauskas.. Paper Exhibition.. Paper Exhibition.. is an anthology of writings by Raimundas Malašauskas published in collaboration with Kunstverein Publishing, Sternberg Press, Sandberg Institute,.. , and with additional support from Kadist Foundation and Objectif Exhibitions.. The texts contained within the publication s 240 pages were selected and edited by Aurimė Aleksandravičiūtė Jonas Žakaitis, Tyler Coburn, Audrey Cottin, Krist Gruijthuijsen, Sofía Hernández Chong Cuy, Virginija Januškevičiūtė, Angie Keefer, Kevin Killian, Maxine Kopsa, John Menick, Vivian Rehberg, Sarah Rifky, Aaron Schuster, Vivian Ziherl, and Tirdad Zolghadr; with additional contributions by Judith Braun, François Bucher, Chris Fitzpatrick Post Brothers, Darius Mikšys, Dexter Sinister, and Lucy E.. Smith.. Archive.. Philippe Pirotte, Win Van den Abbeele, and Patrick Van Rossem founded Objectif Exhibitions in 1999.. Mai Abu ElDahab became its Director in 2007, and moved the organization to its current location.. Please view the following websites for the previous exhibition history at Objectif Exhibitions:.. objectif-exhibitions.. org/2007-2012.. org/1999-2007..

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    Descriptive info: Kleine Markt 7-9/26.. +32 3 2884977.. Subscribe.. Opening hours.. are Wednesday to.. Saturday from.. 2pm to 6pm.. Objectif is part.. of.. Circular Facts.. +.. About.. OBJECTIF EXHIBITIONS is a non-profit space dedicated to contemporary art in Antwerp.. Our aim is to use the organization’s public mandate to offer a climate of support for the creation of and interaction with diverse artistic practices.. Our activities include exhibitions, talks, performances and publishing.. Flemish Community.. City of Antwerp.. EU Culture 2007.. Anne Judong.. Curator, Bozar, Brussels.. Steve van den Bosch.. Artist, Antwerp.. Win Van den Abbeele.. Former director of Objectif Exhibitions, Antwerp (Chairperson).. Nicolaus Schafhausen.. Director, With de Witte, Rotterdam.. --.. Chris Evans.. Artist, London.. Frederique Bergholtz.. Director, If I Can't Dance, I Don't Want to Be Part of Your Revolution, Amsterdam.. Anthony Huberman.. Director, Artist's Institute, New York.. Gabriel Kuri.. Artist, Brussels.. Sophie Nys.. Leon Vranken.. Team.. Director:.. Exhibitions Coordinator:.. Marnie Slater.. Administration:.. Kristin van der Weken.. Graphic Design:.. Will Holder.. David Reinfurt (Web).. Directions.. Getting here: From Centraal station, take tram 2 or 15 to Groenplaats, turn left on the Nationalestraat, take the second left unto Kammenstraat and we are down the street (next door to Cafe Berlin).. From Berchem station, take tram 8 to Mechelseplein, walk along Vleminckveld until it ends at Kleine Markt, and we are on your right hand-side.. There is no world without a stage.. and no one lives for not-appearing.. Seeing of ears invites to speak.. knowing of eyes invites to show.. Notice also, silence sounds.. listen to the voice of color.. Semblance proves it can be truth.. as every form has sense and meaning.. --.. From 'Poems and Drawings' (1958).. Josef Albers.. Posted 30 August, 2011.. -.. 28/01 Barbara Visser "Double Features".. Download the.. View the.. images.. Read the.. text.. 29/10 Agency "Assembly (Objectif Exhibitions)".. 03/09 Hassan Khan "The Twist".. 20/06 Job Announcement: Artistic Director.. 11/06  ...   every rabbit is like the other".. January 24 to March 7.. 08/11 Michael Smith.. "In the Greatest Country in the World, Why do you Have to be an Asshole?".. Video, Drawings and Photographs.. November 8, 2008 to.. January 10, 2009.. 13/09 Catbag, an afternoon of Cadavre Exquis.. Catbag, an afternoon of Cadavre Exquis.. Saturday 13 September, 3–5 pm.. Invented by the Surrealists in 1925, Cadavre Exquis (Exquisite Corpse) is a game where a player receives a random word, elaborates on its references and possible implications, and then chooses a new word to hand over to the next player.. The game (similar to the parlor game called “Consequences” where players take turns writing on a sheet of paper, fold it to conceal the written part, and pass it on to the next player) is used as a strategy for automatic writing aimed at spontaneity, chance, unconscious associations and different modes of public address.. 06/09 Sancho Silva "Dolle Mol".. September 6 to October 25.. 20/07 Closed until 6/9.. We are on holiday and closed to the public from July 20 to August 10.. Upcoming exhibition: Sancho Silva "Dolle Mol" will be opening September 6.. 29/06 Chris Evans.. "AN ARGUMENT AND A BARBECUE".. Chris Evans in conversation with Will Bradley and Lisette Smits:.. Sunday June 29 at 4pm.. 14/06 Yael Davids.. "LEARNING TO IMITATE".. A talk by Yael Davids.. Saturday June 14 at 7pm.. 31/05 Mark Aerial Waller.. Mark Aerial Waller and.. The Wayward Cannon present.. "LA SOCIÈTÈ DES AMIS DE JUDEX II".. Saturday May 31 at 7pm.. 17/05 Michael Stevenson.. A LECTURE BY MICHAEL STEVENSON.. "The Search for the Fountain of Prosperity".. Saturday May 17 at 7pm.. 16/03 Mariana Castillo Deball "Do ut des".. March 16 to May 10, 2008.. 02/02 Guy Ben-Ner "Wild Boy".. January 20 to March 1, 2008.. Archive 1999-2007.. Previous exhibition materials are archived on the former website here:.. org/_Archive..

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