curator of group exhibition in gallery Rod Barton, Brussels


CITROËNBOOM, 2016, Earth and lemontree

Chépas is a young interdisciplinary collective balancing between art, architecture and urbanism. It was founded by an architect, Sebastiaan Willemen, and a visual artist, Lola Daels, trough a shared fascination with the margins of urbanism. Daily confrontations with urban failure and microcosms inside the macrocosms of the city lead to colorful urban interventions, which tend to draw attention to disused spaces or trigger citizens to reflect on the space they’re using.

In their work they combine the poetic qualities of the artist with the pragmatic approach of the architect to come up with idiosyncratic but straightforward urban scenography’s, using series of plain daily, colorful objects. Chépas collective is operative from and in Brussels, Belgium.


PUNCH ME IN THE FACE!, 2016, Textiles and objects

Seyran Kirmizitoprak. Seyran Kirmizitoprak. Seyran kirmizitoprak. Possessing a distinctive theatrical feel, her installations are inhabited by unusual creatures. That nevertheless possess an ambiguous Sinisterness. Drawing codes from an inner surreal world/personal narrative and migrating between cultural values. She floats between fiction and reality.

txt by Komplot


AND I’M STANDING ON THE EDGE OF SOME CRAZY CLIFF, 2016, Textile, canvas, digital photos printed on textile, digital photo of a painting by Berthus Weeda printed on velvet, monkey mask, gold-colored sign with engraved text

Van Gorkum’s life and practice are intimately intertwined, with the concept of “a house” at the center. From the start of her career to around 2015, van Gorkum’s work has often consisted of installations; big structures both resembling a stage and reminiscent of a private interior. Her installations are inhabited by personas or characters that are styled as ferociously as their surroundings.

txt by Pia Louwerens

“The house shelters daydreaming, the house protects the dreamer, the house allows one to dream in peace” -Gaston Bachelard, The Poetics of Space.

The work And I’m standing on the edge of some crazy cliff deals with the fear of becoming homeless. It can happen to everyone. We feel safe when we are able to pay the rent, have insurance and a stable income. We feel safe when we are surrounded by people who say they have got our back. We feel safe when we know what is coming. But things can change in the blink of an eye, both positive and negative. The work consists of the remains of Van Gorkum’s previous works, including Talk Show, for which she printed pictures of her parental home on textile, Object vs. Subject and Monkey – The Omniscient, a work about instincts and illusions. As in the animal kingdom, people too have the primal urge to mark their territory. Van Gorkum defines this in an image as we recognize throughout our daily rituals. As the wanderers on the street are clinging to the luggage they can’t let go of, Van Gorkum recycles the material that was once used to shape her dreams to visualize her nightmare.


KALASJNIKOVS, 2015, Polyester, 90x90 cm

In his young but already broad corpus, Niels Vaes shows us elegant approaches of different symbolic, historical and psychological themes. Vaes’ work especially exists of sculptural interventions, experimental paintings and graphic research. Mostly he combines all these things to deliberated, multimedia and space filling installations in public spaces as well in private spaces. The work is very diverse but we can still frequently separate some ‘signature moves’.

txt by Wim van der Celen


-$$$- MSS. MOULA, 2016, Performance and VHS video, money, gold

Marthe Lengeler is a Brussels born and raised artist. As an enthousiastic participant of the multimedia festival of “MOVING WORD” in OFF OFF Cinema in Ghent, she found her artistic voice in video and performance. She played a maincharacter in the film Hart/Coeur of Koen Blauwblomme, what brought her to Raindance Festival in London. Lengeler combines visual interpretations of her surroundings with exaggerated associations of and about the world, often expressed by an alter ego, blurring the border between fantasy and reality with a touch of urban bling.


REVERS, 2016, Acrylic transfer on floor, 48x72 cm

Lucas Jardin’s work operate in the space between revelation and concealment. Using solvents to manipulate found materials, the gestures he makes are painterly in effect, but are in fact the result of a reductive process, eating into and degrading the surfaces he works over. This is opposed to the additive nature of the gestural paint marks they reference. Yet Jardin inverts Robert Rauschenberg’s well-known Erased De Kooning Drawing (1953), in which Rauschenberg used the eraser as a means to undermine the authority of Willem De Kooning’s inimical gesture. Jardin has found that, contrary to the authorical logic of Rauschenberg’s work deconstructs, his ‘erasures’ can have a weight and power of their own, operating as they do in ur contemporary context of an expanded arena of gestures. These can be seen to encompass everything from what happens when we manipulate a pen, or motion to a friend, to manipulating the touchscreen on our iPhone. Seemingly ‘reductive’ marks are not only negative and reactionary.

txt by Alex Bacon


HOW TO..., 2016, Audio, 8’04”

Benyó is interested in behaviours and attitudes where physical effort is needed. She is searching for the border between directing and improvisation, movement and a still. To recreate action in a different context you are able to see it more clear. It becomes a physical dialogue. Benyó gives a picture of the human as a moving subject. The performers are the interpreters of themselves. Her work is a spectacle without acting.

Do people behave differently in museums and galleries? By creating an audio entertaining show Benyó examines this question. How to… describes a fictional performance that could happen any moment in the gallery. Is the audience able to synchronize reality and fiction by allowing themselves to participate during the show?

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