Newspaper Jan Mot Afgiftekantoor 1000 Brussel 1 Verschijnt vijfmaal per jaar in V.U. Jan Mot januari – maart – mei – Kleine Zavel 10 augustus – oktober 1000 Brussel No. 126, maart 2021 Erkenningsnummer P309573 235 – 236 Jaargang 25 No. 126

The reality of the apple be If the surface of the mini The metal grid reveal nothing gins to flicker as if an intangible malist cube exposed the hid but the visible surface of tini- age of time. den conditions outs grid. malist cube. Intoxication and Phantom Bodies A conversation with Joachim Koester

COPENHAGEN, FEB. 18 – Lars Bang that “history decays into images,” as he put they are uncovered, they can be interpreted Larsen: I would like to ask you about “the it. How does the invisible index become through visual similarities or associations. I invisible index of things” — a felicitous image, and what happens to it when it is think this is what happens to the invisible phrase of yours that stands as a sort of imaged? index after it becomes image; what was hid- search term in your research. If the occult is ing, in dreams, or sometimes in plain sight, that which per definition is hidden, your Joachim Koester: Last fall I scanned a minus- or in the case of cocaine, right under our “invisible index” can literally be connected cule amount of cocaine in an SEM micro- noses, can be utilized as part of an ongoing to your recurring focus on occult practices scope. What appeared on the screen was a process to create insights into the politics of and their cultural histories. But this index of strange weightless subterranean world, a contemporary life. the unseen also suggests an inherent tension psychogeography with distinct visual fea- in relation to the way that history becomes tures. I think of these images as sort of con- Lars: Cocaine! This raises the question of image. After Benjamin, historical memory centrate or condensation of the politics and what kind of image can hold the invisible is understood as the recognition of an neurological effects of cocaine. Benjamin index. Am I right that the road you take to image, and so the question is how “the writes about image worlds so subtle that create such image worlds works by way of invisible index of things” relates to his idea they appear only in waking dreams. After teasing out contradictions and tensions?

(advertisement) 235 Exhibition 20/03–01/05 Opening 20/03, 2–6 pm JOACHIM KOESTER THE INVISIBLE INDEX

Jan Mot Petit Sablon / Kleine Zavel 10 1000 Brussels, Belgium Joachim Koester, Cocaine #3, silver gelatin print, 40 × 46 cm (image), 2019. 2 Newspaper Jan Mot Joachim / Lars 126

Meaning, the motif or object of your camera 2007 film Tarantism, too, in which dancers of the praying mantis. Some qualities of is often characterized by being Other: it is let it all hang out in a silent and improvised the insect were adapted to the style in a something ecstatic, illegitimate, or nonhu- rave that references the medieval “dancing quite literal way, like the movements of man—to put it plainly, things or phenomena cure” for the poisonous bite of the wolf spi- the insect’s front legs when it catches that conventionally are represented with der. This is also a portrayal of intoxication. prey or defends itself, but the mantis was visual drama and lots of colors. But counter- But I should add that it is quite inviting, also seen as a vehicle for developing intuitively, your camera attitude tends to be though—it may be depicted quite dryly, but supernatural powers—to become tele- dry, objectivizing, on-the-tip-of-your-fork- it makes you want to dance the tarantella. pathic, incredibly fast, weightless, invisi- like. With this dialectic or tension you create ble. The names of the different mantises something like documents of excess and Joachim: Yes, what is depicted is a much that I photographed also speak to the liminal phenomena, or even a collision more positive form of intoxication. The mysterious and transformative side of its between reason and unreason. shaking, hurling, and vibrating bodies of appearance. One is called a Ghost Man- Tarantism can be interpreted as the first step tis, another a Devil’s Flower Mantis, one Joachim: The images do not depict the of a transformation; a signal from phantom a Violin Mantis, and one a Schizocephala excess of bliss; rather, it is the excess associ- bodies, lost memories, and new identities Bicornis. They look a bit like little spirits, ated with the tunnels of Mordor or free mar- trying to wriggle their way out. or aliens, space creatures with unknown ket economy. When coca leaves are turned powers. into cocaine in jungle laboratories, the Lars: Does this also apply to the praying extraction process involves adding gasoline mantises in your photographs? Are they A solo exhibition of Joachim Koester, and cement. After this, the weight of the phantom bodies, too, indexes of emerging titled The Invisible Index, opens at the cocaine is increased at each station of the corporealities? gallery on March 20 and is on view until distribution chain by mixing the powder May 1. Another solo exhibition by Koes- with cheaper ingredients like Novocain, to Joachim: Yes, I think so. There is a Chinese ter takes place at Museum Dr. Guislain in create a feeling of numbness in the gums or Kung Fu style based on the movements Ghent (BE) (20/03–13/06). nose, or levamisole, which seems to have an effect on the nervous system, or even sugar, just because it’s white and powdery. It was (advertisement) street cocaine that I scanned, and the com- pound created some really weird reflections. First, I thought it had to do with the SEM microscope, but it is indeed something in the powder itself that shines. Also, in order to make the SEM scanner work, the cocaine 236 had to be covered in a layer of gold. I didn’t know anything about the process before- Online Art Fair hand, and I thought it was quite a coinci- 24/03–27/03 dence that gold had to be added to the mix. The tiny heap of material becomes an alchemical blend of forces, and inside it hides an architecture created by the history SETH SIEGELAUB: and production of the cocaine and the enor- mous economy that cocaine sustains today. HOW IS ART HISTORY MADE? But back to your question—the seemingly sobering way that I sometimes deal with CARL ANDRE, ROBERT BARRY, extraordinary or excessive subject matter. I guess one way to answer this is that I’m ROSEMARIE CASTORO, often more focused on how ideas, histories, and qualities compress as physical material HANNE DARBOVEN, than in unfolding the subject matter through identification. DOUGLAS HUEBLER, Lars: Your sobering approach to excess ROBERT HUOT, JOSEPH KOSUTH, echoes Benjamin again. In his 1929 essay on Surrealism he warned against mysticism DAVID LAMELAS, and admonished that “any serious explora- tion of occult, surrealistic, phantasmagoric LAWRENCE WEINER AND gifts and phenomena presupposes a dialecti- cal intertwinement.” As you engage with IAN WILSON these phenomena, their essentialisms and metaphysical claims must be methodically doubted, in other words. Your series of coke Art Basel OVR Pioneers microscopies is your most recent work, but www.artbasel.com what you say about it seems to relate to your 3 Newspaper Jan Mot Heiko 126

Manon de Boer, An Experiment in Leisure, 2016–2019 (film still). About water – part 2

This text is the second part of a series of the exploration of one of Earthʼs nearest The cycling of water between a human contributions to the newspaper by Heiko neighbours. With the recent Perseverance body and the surrounding environment ex- Goelzer, a friend and a scientist work- rover landing on Mars, speculations about emplifies for me the difficulty of defining ing in climate research. He studies the water and life on Mars have come again the boundary between the two. When role of ice sheets in the climate system on into focus. Even if the surface may be too does the water that I drink become a part various timescales in past, present and cold for running water today, it is thought of me? Is it in the moment that I take a future and their contribution to sea-level to have existed at an earlier stage during sip and close my mouth around it? If that change. The texts by Goelzer are part the development of our solar system. was true, I could evoke rapid transitions of our contribution to Galleries Curate: of the water from being it to being me just RHE, a worldwide collaboration between Moving to our human life, babies are born by opening and closing my mouth. When galleries on the theme of water. (galleries with around 78 percent of water in their bod- I make the experiment with a mouthful curate.com) ies. The percentage is quickly changing, from the cup of tea next to me, I realise and after a year a child is already down that by the time I have opened and closed By to 65 percent, not far from the percentage my mouth a couple of times, the tea must Heiko Goelzer of an adult person (55-60%). In order to have already mixed with my saliva. So, if I keep in balance, we have to add around were to spit it out now, a part of me would 2 to 3 litres of water every day in form of leave with the tea. Another gulp and I can OSLO, MAR. 7 – The beginning of life on beverages and food. Failing to do so has feel the warm tea working its way down to Earth is often associated with the presence severe consequences for the functioning my stomach. But soon enough I lose con- of liquid water on the surface. Water is of our body as water transports nutrients, science of its whereabouts inside of me. thought to be the medium for chemical re- lubricates our joints, and flushes waste I know that eventually the water will be actions that ultimately led to complexifying from our system. Clearly, the availability taken up in my intestine and become part forms of amino acids and proteins, the early of a sufficient amount of water is - apri of my bloodstream. For a short window of building blocks of life. A few billion years mary prerequisite for human life to exist opportunity my body may lay a seemingly later, water is also the central theme for and continue. legitimate claim of ownership onto the 4 Newspaper Jan Mot Heiko 126

water until it leaves from a pore in my skin accelerating since the early nineties and is severe impacts on marine ecosystems like or otherwise enters the observable envi- expected to dominate sea-level rise as we fish stock and fisheries. And since the sur- ronment again. I remain with the question go forward. plus heat from the tropics has to be trans- if the water was ever fully part of myself ported northward in any case, storms and or if it was maybe just a visitor spending The reason for the difference in response other extreme events are likely to increase some time with me before moving on. lies in a fundamental difference of how ad- as the atmospheric circulation has to take ditional heat works for the two processes. over the job. Out there, water is omnipresent in the Thermal expansion of the ocean water is a world and its physical reality in the envi- linear process at least for the temperatures From the origins of life, to sustaining our ronment that surrounds us has tremendous of concern here: the more heat is taken up human body and to moderating weather impact on our lives. Around 71 percent of by the ocean, the more the water expands and climate on the global scale: water in its the Earthʼs surface is covered by oceans in a nearly one-to-one way. For ice sheets, different forms plays a tremendously im- that contain more than 96 percent of the increased temperature also implies more portant role in setting the boundary condi- Earthʼs liquid water. Ocean water contains melt, but several feedback mechanisms tions for our existence in this world. salt, on average 35 grams or six teaspoons make that once melting is underway, the per litre. Conversely, most of the freshwa- process is further amplified. This makes The city didnʼt feature visually on this ter (70%) is stored in frozen form on land that the ice sheet response is now consid- occasion but in a caption introducing the in ice sheets, glaciers and permafrost and ered the critical element for sea-level rise neighbourhood where each friend lived: most of the rest is buried in groundwater projections. Warming the planet more and John Baldessari, Santa Monica. Allen Rup- archives. Rain and other freshwater we moving further away from a state of bal- persberg, Hollywood. John Knight, Silver encounter in our daily lives e.g. in toilets ance could even bring the ice sheets into an Lake, etc… This leit-motif in the exhibi- and bathtubs is only a tiny percentage of irreversible decline, placing us on a one- tion at Jan Mot with works dating back to the global water resources. way path of rapid sea-level rise. the 1960s and 1970s, made me think of the relation of Lamelas with different cities in From the glaciers that I took as a perspec- Another example of how increased fresh- which he has The city is an environment to tive in the first part of this series of con- water runoff from the land and higher tem- get together lived and more particularly, of tributions (Newspaper Jan Mot, No. 125), peratures profoundly change our ocean is the projects.had a dense group of friends water runs off when melted, enters a sys- the alteration of large ocean currents. Dif- all over Eu mostly walking towards the tem of creeks and rivers and together with ferences in heat and salt concentration of camera, with rope. I hope all is going ac- rain and other runoff eventually ends up in various water masses in the ocean drive a cording to your plan. the ocean. Here, the freshwater mixes with large-scale circulation that itself redistrib- In this work he portrayed nine of them the salty ocean water and is transported utes heat and salt globally. When I started – artists, dealers, curators and collectors by ocean currents around the world. The my work in climate science more than with whom he collaborated on various pro- cycle continues by evaporation of water fifteen years ago, my PhD project was all jects – in a series of black and white im- from the surface of the ocean, which is about the stability of the Atlantic branch ages always with the same framing: three strongest in the warm tropical regions. of that circulation. At the time, it was al- women and seven men, himself included, When water vapour is freed from the ready hypothesised and shown by model mostly walking towards the camera ages ocean surface the salt stays behind. Winds projections that the circulation would slow always with the same framing: Julia: The and storms transport the water, now in the down in response to anthropogenic green- GCC relies entirely on donations and al- form of water vapour, around the world. house warming. More recently, evidence most all of you work for free for t The city Eventually, it condensates in clouds to has been added that the circulation is in- is an environment to get together is a key become liquid again and to fall as rain or deed weaker now than ever before over subject of one of Lamelas pieces he did this snow on the Earthʼs surface. the last 1000 years and that the observed work in 1969 – barely a year after his ar- climatic fingerprint of this change has the rival to London thanks to a British Council Like our body that maintains a certain wa- pattern expected from simulations. All the grant in order to study at Saint Martinʼs ter level from day to day, one could say evidence combined strongly suggests that School of Art – Lamelas already had a that our Earth is healthy when the water the circulation will see a further slowing dense group of friends all over Europe. cycle is roughly in balance on timescales down in the future. In this work he portrayed nine of them of decades. But glaciers and ice sheets – artists, dealers, curators and collectors are losing more water today by melt than The importance of this circulation for our The city is an environment to get together they gain by fresh snow on their surface. climate lies in the transport of warm water is a key subject of one of Lamelas pieces As the globe is warming, we move further from the tropics to the Northern Atlantic, he did this work in 1969 – barely a year away from a state of balance and sea-lev- where its heat is released to the atmos- after his arrival to London thanks to a Brit- els are rising. One factor that determines phere. Northern Europe and the UK would ish Council grant in order to study at Saint the height of water levels is clearly the be on average up to 9 degrees colder with- Martinʼs School of Art – Lamelas already amount of water in the ocean, which is out that additional heat supply, which can had a dense group of friends all over Eu- now increasing due to contributions from be estimated from model simulations and rope. In this work he portrayed nine of them melting ice. The other factor is how warm by comparing with other similar locations – artists, dealers, curators and collectors he the ocean water is, because water expands at the same latitude. Changing the strength project. Are the UK government or EU in- as it heats up. The relative contribution of of the ocean circulation and therefore the terested in supporting you? Kate: We have the two processes was around half-half heat supply can result in a perturbation of set-up quite modestly on donations from over the last 50 years. But the contribu- weather systems, changes in the distribu- commercial galleries and supportive indi- tion from melting ice on land has been tion and amount of rainfall and can have viduals so far. 5 Newspaper Jan Mot Kate / Julia 126

The Benefits of Slowing Down A Conversation with Kate MacGarry on the Gallery Climate Coalition

BRUSSELS / LONDON, FEB. 23 quite vague in a way, with the four of us GCC with Gary Hume, who worked out, putting forward very different approaches via an audit by Danny Chivers, that by ship- Julia Wielgus: First of all, I would like to to it. Thereʼs an overwhelming amount of ping his paintings by sea he could reduce thank you and others who created the information to absorb on this subject and so carbon by 95% and he now insists that his Gallery Climate Coalition (GCC) and the much of it feels impossible. paintings are not shipped by air. I had calculator. It was crucial for us to better already chosen not to do art fairs all over understand where our carbon footprint Julia: The calculator that you created with the world in the last few years and since my comes from and formulate objectives. the GCC is something very concrete as is audit Iʼm definite about that decision. Iʼd the carbon footprint one can determine with rather use the fewer flights I do take to Kate MacGarry: Iʼm happy to hear that. it. Was the idea of a calculator there from make really meaningful trips. the start of the project? Julia: Iʼm always interested in this momen- Julia: What is for you a meaningful trip? tum when a collaboration starts happening, Kate: The calculator came up quite soon as germinates. How did it go with the Gallery a first step – once we started working with Kate: Well, if I did go to America or Asia Climate Coalition? the environmentalist Danny Chivers, who once a year or once every two years, Iʼd has been helping us get our facts right. He probably go for two, two and a half weeks Kate: We actually first met a week before encouraged Thomas Dane and I to do car- and Iʼd try to do everything I need to do. the lockdown in March 2020, it was the day bon audits of our galleries. These audits More slowly. Iʼd make a trip for an impor- that we all stopped shaking hands. But we served to design the calculator which was tant museum show, and if that coincided had planned this meeting some weeks made by Artlogic at no cost. It reflects our with an art fair, then great. So, I am rethink- before, Thomas Dane put it together and mission which is to reduce our carbon foot- ing this, looking how I can plan better. invited a few people along. This group print and to be more sustainable. became the founding members of GCC, Julia: Can you sustain relationships while Thomas Dane, Heath Lowndes, journalist Julia: What were your conclusions when flying much less? Louisa Buck, Greg Hilty from the Lisson you became aware of your footprint? Gallery, Sadie Coles, Matthew Slotover Kate: What the pandemic has proven is that and Victoria Siddall from Frieze, and Kate: An audit is an extremely useful exer- we can get a lot of work done online. We myself. Peter Chater, the founder of Art- cise, the calculator produces a pie chart that were faced with an emergency situation and logic came on board soon after. shows the breakdown of your carbon. For we had to adapt. We had a few commis- We started talking about doing an event in most galleries it will be 3 things that are sions last year from clients in America and July for our colleagues in the commercial most visible; flights, shipping by air and Asia, and weʼve done all the meetings art world, and planned to invite experts buildings. It helps you make decisions about online. I do feel like I know them well by from Extinction Rebellion and Julieʼs Bicycle where and how you can cut carbon. To give now, although we havenʼt met in person to talk to all of us and answer some ques- you an example, 45% of our carbon foot- yet. Weʼve also had a bit more time to deal tions we had. Then the lockdown happened. print was from flights, and 70% of that was with enquiries more thoroughly. I see huge We began meeting on Zoom every Friday three long-haul flights that I had taken that benefits in slowing down, in terms of sav- and we just started learning more and trying year. The GCCʼs target is in line with the ing money too. to work out what it is we should be doing? Paris Agreement, which is to cut emissions What we recognised was that there wasnʼt a by 50% by 2030. But I want to try and do Julia: Do you think that turning local is resource designed for commercial galleries 50% next year. Personally, I donʼt want to something that is going to happen in the art to reduce our carbon footprint and at the wait for 2030 with that. world on a larger scale? I heard Frances same time, we were aware of our habits of Morris saying that she wants TATE to travelling all over the world and shipping Julia: I evaluated our footprint for 2019 with become a local museum. art by aeroplane in heavy crates. the calculator. I was expecting business The year before I had participated in a talk travel by air to be the biggest source of our Kate: I think that what she means by that is during Art Basel called Letʼs talk about the emissions as well, but I was surprised that it being more engaged with the local and not weather with the artists Maria Thereza was around 70% of our total footprint that looking outwards all the time? Obviously, Alves, Pedro Neves Marques and Markus year! It basically means that we need to cut we all see ourselves as international and Reymann from the TBA21 Academy. It flights. thatʼs a really important part of what we do, was a first for me, to start thinking about we represent artists from all over the world. climate change in terms of what we do as Kate: Yes, I am not surprised by that. But I think that in that process, through the galleries, although it was increasingly on Another large carbon footprint area is air busyness, we do miss quite a lot of things my mind. The talk was wide-reaching and freight. Thereʼs a film on the website of on our doorstep. 6 Newspaper Jan Mot Kate / Julia 126

Julia: What are the most important themes that you have been busy with talking within the GCC lately?

Kate: One of the biggest discussions has been around the benefits and problems with offsetting and we have listened care- fully to Danny Chivers on this. As a result, weʼre not really even promoting using the word. Itʼs complicated, there are off-set- ting projects out there that are ineffective and donʼt charge enough per tonne of carbon. During the lockdown we met with a charity called Client Earth who employ lawyers, that work to shut down coal-fired power stations, especially those whoʼs activities may contravene the Paris Agreement. Their impact is huge in terms of reducing carbon emissions and we hope to raise money for them in the future. The GCC is in the process of forming the- matic subgroups for members to join. For example we have started with packaging where we are researching into new materi- als, into recycling, compostable plastic, mushroom technology. We have started a conversation with Ki Culture an organisa- tion based in The Netherlands who have already carried out research on sustainable practices. In the future we want to be able to recommend specific companies and prod- ucts on the GCC website. Other GCC sub- groups will tackle artist production, ship- ping, travel and art fairs.

View of the carbon audit of Kate MacGarry on the website of the Gallery Climate Coalition Julia: There are more and more artists join- (https://galleryclimatecoalition.org). ing. What are the topics to discuss more specifically with them from gallery The city is an environment to get together The chosen mediums here were drawing perspective? is a key subject of one of Lamelas pieces and a slideshow. The city didnʼt feature I hope all is going according to your plan. visually on this occasion but in a caption Kate: We started talking about things like exhibited at the gallery in Brussels: Ant introducing the neighbourhood where making a work in situ for a museum show. The city is an environment to get together each friend lived: John Baldessari, Santa Maybe it doesnʼt get returned? Maybe it werp-Brussels (People and Time). When Monica. Allen Ruppersberg, Hollywood. gets recycled? What alternative materials he did this work in 1969 – barely a year John Knight, Silver Lake, etc… This leit- can you use? During the lockdown, weʼve after his arrival to London thanks to a Brit- motif in the exhibition at Jan Mot with moved and reduced the storage of the gal- ish Council grant in order to study at Saint works dating back to the 1960s and 1970s, lery. Weʼre going to rethink what the desti- Martinʼs School of Art – Lamelas already made me think of the relation of Lamelas nation is for a work and where it will end had a dense group of friends all over Eu- with different cities in which he has The up. rope. In this work he portrayed nine of them city is an environment to get together lived – artists, dealers, curators and collectors and more particularly, of the projects.had a Julia: You certainly also had conversations with whom he collaborated on various pro- dense group of friends all over Eu mostly with collectors about this initiative? jects – in a series of black and white im- walking towards the camera, with rope. I ages always with the same framing: three hope all is going according to your plan. Kate: Weʼve started talking to collectors, women and seven men, himself included, In this work he portrayed nine of them firstly about shipping by sea. A few collec- mostly walking towards the camera, with – artists, dealers, curators and collectors tors are already on board and very enthusi- determination, in urban contexts in which with whom he collaborated on various pro- astic about change. I have been asked about they appear to be the protagonists. Indeed, jects – in a series of black and white im- the recycling of crates and so on in the past, they seem to be the sole human presence ages always with the same framing: three but itʼs probably the least active area so far. – except for the photographer himself and women and seven men, himself included, But I also think that we need to lead by traffic. Seven years later, I did a similar ex- mostly walking towards the camera ages example. I believe that soon it will seem ercise in Los Angeles with his LA Friends. always with the same framing: crazy not to be making these changes, and 7 Newspaper Jan Mot Kate / Julia 126

that one day a carbon audit would be simi- In terms of exhibitions, we had some really and a slideshow. The city didnʼt feature lar to your tax return. That might be the good quality plinths made by a designer for visually on this occasion but in a caption future for all businesses, so weʼre just our gallery and weʼve used them over and introducing the neighbourhood where hopefully getting ahead on that. over again because the proportions are so each friend lived: John Baldessari, Santa good that they just work as a display sys- Monica. Allen Ruppersberg, Hollywood. Julia: One of GCCʼs goals is to become a tem. We often show film, and we’ve started John Knight, Silver Lake, etc… This leit- lobbying group… to reuse the materials each time we build motif in the exhibition at Jan Mot with the black box. I think weʼve built three works dating back to the 1960s and 1970s, Kate: Itʼs lobbying with a small L at the small cinemas now with the same materi- made me think of the relation of Lamelas moment. It sounds a bit harsh but itʼs about als. We have a section in our storage for with different cities in which he has The lobbying our colleagues, spreading the materials that can be reused. city is an environment to get together lived word, talking to our shippers, suppliers but and more particularly, of the projects.had a also fairs about this, telling them what we Julia: Do you fantasise about the future? dense group of friends all over Eu mostly want and giving them the chance and also walking towards the camera, with rope. I economic incentive to change. For example Kate: I donʼt fantasise but Iʼm quite excited hope all is going according to your plan. one gallery managed to persuade Terra-cycle about trying this new way. It suits me per- In this work he portrayed nine of them to collect the popular Nitrile gloves for recy- sonally. I think it will improve our quality – artists, dealers, curators and collectors cling. Weʼre also meeting with insurers to of life and our interactions. with whom he collaborated on various pro- talk about shipping by sea, as some of them jects – in a series of black and white im- are sceptical about the safety of it and yet it Kate MacGarry studied Fine Art at Maid- ages always with the same framing: three can be such a big carbon saver. stone, and then at Bath College of Art in women and seven men, himself included, the UK, graduating in 1992. She worked in mostly walking towards the camera ages Julia: The GCC relies entirely on donations various roles in the art world for ten years, always with the same framing: Julia: The and almost all of you work for free for the including at Frieze Magazine and the ICA, GCC relies entirely on donations and al- project. Are the UK government or EU and then on various projects with artists most all of you work for free for t The city interested in supporting you? and one with a collector, before opening is an environment to get together is a key her own gallery in east London in 2002. subject of one of Lamelas pieces he did this Kate: We have not researched public fund- The gallery represents 23 artists, some of work in 1969 – barely a year after his ar- ing and have set-up quite modestly on whom had their first commercial exhibition rival to London thanks to a British Council donations from commercial galleries and in the gallery. She is a founder member of grant in order to study at Saint Martinʼs supportive individuals so far. This allows us the GCC (Gallery Climate Coalition) School of Art – Lamelas already had a two part-time staff who are given free office which formed with colleagues in London in dense group of friends all over Europe. space by Thomas Dane Gallery, and Danny 2020. In this work he portrayed nine of them Chiverʼs expertise and guidance. – artists, dealers, curators and collectors This conversation is part of a series The city is an environment to get together Julia: Could you give some more practical of contributions on collaboration in the is a key subject of one of Lamelas pieces advice on how you reduce your footprint at galleryʼs Newspaper. he did this work in 1969 – barely a year the gallery? after his arrival to London thanks to a Brit- I hope all is going according to your plan. ish Council grant in order to study at Saint Kate: Switch to a renewable energy provider exhibited at the gallery in Brussels: Ant Martinʼs School of Art – Lamelas already for your building – this is the most important The city is an environment to get together had a dense group of friends all over Eu- change to make and itʼs easy to do. Research werp-Brussels (People and Time). When rope. In this work he portrayed nine of them the best local company that is pro-actively The city is an environment to get together – artists, dealers, curators and collectors investing in local renewables. Invest in com- is a key subject of one of Lamelas pieces he project. Are the UK government or panies that are putting the environment first he did this work in 1969 – barely a year EU interested in supporting you? Kate: – we use a courier in London with electric after his arrival to London thanks to a Brit- We have not researched public funding bikes and vehicles for small works and ish Council grant in order to study at Saint and have set-up quite modestly on dona- short trips. Martinʼs School of Art – Lamelas already tions from commercial galleries and sup- In terms of packaging we make a lot of had a dense group of friends all over Eu- portive individuals so far. This allows us bespoke cases for art using tri-wall card- rope. In this work he portrayed nine of them two part-time staff who are given free of- board; I discovered in my audit that the dif- – artists, dealers, curators and collectors fice space by Thomas Dane Gallery, and ference between 100% recycled and partly with whom he collaborated on various pro- Danny Chiverʼs expertise and guidance. recycled material makes quite a big differ- jects – in a series of black and white im- Julia: Could you give some more practical ence to your carbon footprint. Natural mate- ages always with the same framing: three advice on how do. Research the best local rials might have a higher carbon footprint to women and seven men, himself included, company that is pro-actively investing in be produced but the advantage is they are not mostly walking towards the camera, with local renewables. Invest in companies that hanging around for 1000 years! I recently determination, in urban contexts in which are putting the environment first – we use decided to invest in recycled blankets and they appear to be the protagonists. Indeed, between 100% recycled and partly recy- materials that we know we can reuse time they seem to be the sole human presence cled material makes quite a big difference and time again. We donʼt buy bubble wrap, – except for the photographer himself and to your carbon footprint. Natural materials plastic tape or polystyrene. We are undertak- traffic. Seven years later, I did a similar ex- between 100% recycled and partly recy- ing research into which materials actually can ercise in Los Angeles with his LA Friends. cled material makes quite a big difference be recycled safely before we even purchase. The chosen mediums here were drawing to your carbon footprint. 8 Newspaper Jan Mot In Brief / Agenda 126

Kunstmuseum Bonn, Bonn (DE), 27/05– Museum of Art, Baltimore (US), 28/03– In Brief 05/09; Oumi. From nothing to something 19/09. to something else, part 3, MoMeNT, Ton- geren (BE), 17/07 (screening); Manon de Boer Philippe Thomas The work Presto, Perfect Sound (2006) & Latifa Laâbissi. Ghost Party (part 1), Inventaire, Mamco, Geneva (CH), 26/01– by Manon de Boer entered the collection Wiels, Brussels, 17/09–18/09 (performance). 20/06; Zeroes + Ones, KW Institute for of the Zürcher Kunstgesellschaft (CH). Contemporary Art, Berlin, 03/07–19/09. The film depicts composer and violin- Rineke Dijkstra ist, George Van Dam, performing Béla Mother! Louisiana Museum, Humblebaek Tris Vonna-Michell Bartokʼs sonata for violin solo, Presto. The (DK), 27/01–30/05; Hippolyte, Auguste Tris Vonna-Michell, CAV/ Encontros de piece was filmed six times and later recon- and Paul, Frandrin Musee des Beaux-Arts, Fotografia, Coimbra (PT) (solo, new dates structed to produce a perfect soundtrack. Lyon (FR), 27/03–27/06; Diversity United. tbc). While the process of the montage is not Contemporary Art of Europe. Moscow. audible it is visible in the filmed image. Berlin. Paris, Former Tempelhof, Berlin, Ian Wilson 03/05–tbc; Masculinities: Liberation through Seth Siegelaub: How is Art History Made? Frans Masereel Centrum in Kasterlee (BE) Photography, LUMA Foundation, Arles Carl Andre, Robert Barry, Rosemarie launched a brand new edition by Tris (FR), 05/07–26/09; Masculinities: Libera- Castoro, Hanne Darboven, Douglas Huebler, Vonna-Michell entitled No more racing tion through Photography, FOMU, Antwerp Robert Huot, Joseph Kosuth, David Lamelas, in circles – just pacing within lines of a (BE), 21/10–13/03. Lawrence Weiner and Ian Wilson, Art Basel rectangle, produced as part of the ongo- OVR Pioneers, 24/03–27/03 (online). ing project Solitude in collaboration with Mario Garcia Torres Mount Analogue. Mario Garcia Torres. A Virtually-Never- Seth Siegelaub / Egress Foundation Physically-Seen Body of Work, neugerriem- Seth Siegelaub: How is Art History Made? schneider, Berlin, 09/03–03/04 (solo); Mario Carl Andre, Robert Barry, Rosemarie García Torres. La poética del regreso, Castoro, Hanne Darboven, Douglas Huebler, MARCO Museo de Arte Contemporánea de Robert Huot, Joseph Kosuth, David Lamelas, Agenda Monterrey, Monterrey (MX) 12/03–tbc (solo). Lawrence Weiner and Ian Wilson, Art Basel OVR Pioneers, 24/03–27/03 (online). Francis Alÿs Dominique Gonzalez-Foerster Bon Voyage! Travelling in Contemporary Blow up – James Spader par Dominique The city is an environment to get together Art, Ludwig Forum Aachen, Aachen (DE), Gonzalez-Foerster, ARTE TV, 03/11– werp-Brussels (People and Time). When 13/11–11/04; Geography Lesson, Oranim 03/11 (online streaming); Dominique he did this work in 1969 – barely a year College, Tivon (IL), tbc/05–tbc; Francis Gonzalez-Foerster, Secession, Vienna, 02/07– after his arrival to London thanks to a Brit- Alÿs. As Long as I’m Walking, Musée can- 05/09 (solo). ish Council grant in order to study at Saint tonal des Beaux-Arts, Lausanne (CH), Martinʼs School of Art – Lamelas already 15/10–16/01 (solo). Joachim Koester had a dense group of friends all over E. Kosmos Emma Kunz Aargauer Kunsthaus, Sven Augustijnen Aargau (CH), 23/01–24/05; Vampiros. La Monoculture. A Recent History, M HKA, evolución del mito, CaixaForum Zaragoza (advertisement) Antwerp (BE), 24/09–25/04; Sven (ES), 25/02–13/06; Joachim Koester. The Augustijnen: Spectres, VRT NU (online Invisible Index, Jan Mot, Brussels 20/03– streaming), 18/12–17/06; Congoville, 01/05 (solo); Joachim Koester – Altered JAN MOT Middelheim Museum, Antwerp (BE), States, Museum Dr. Guislain, Ghent (BE), 29/05–03/10. 20/03–13/06 (solo); Vampiros. La evolución del mito, CaixaForum Sevilla (ES), 08/07– Petit Sablon / Kleine Zavel 10 Pierre Bismuth 31/10. 1000 Brussels, Belgium Democracy Today – Problems of Repre- tel:+32 2 514 1010 sentation, KINDL, Berlin, 28/03–23/07; David Lamelas [email protected] Pierre Bismuth. Tout le monde est artiste Pictures, Revisited, The Metropolitan www.janmot.com mais seul lʼartiste le sait, Centre Pompi- Museum of Art, New York City (US), 19/10– dou, Paris, 13/10–28/02 (solo). 09/05; Collection 1940s–1970s, MoMA Wed – Fri 2 – 6.30 pm New York, New York City (US), 24/10– Sat 12 – 6 pm stanley brouwn tbc; David Lamelas, CGAC, Santiago de and by appointment Compostela (ES), 02/07–03/10 (solo); Seth Andrea Büttner Siegelaub: How is Art History Made? The Botanical Revolution, Centraal Muse- Carl Andre, Robert Barry, Rosemarie Colophon um, Utrecht (NL), 19/06–19/09. Castoro, Hanne Darboven, Douglas Huebler, Publisher Jan Mot, Brussels Robert Huot, Joseph Kosuth, David Lamelas, Concept Design Manon de Boer Lawrence Weiner and Ian Wilson, Art Basel Maureen Mooren & Daniël van der Velden Manon de Boer: Think about Wood, Think OVR Pioneers, 24/03–27/03 (online). Graphic Design about Metal, Tënk (online streaming), Maureen Mooren & Maud Vervenne, 01/01–15/04; Risquons-Tout, Wiels, Brus- Sharon Lockhart Amsterdam sels, 12/09–28/03; Sound and Silence, Sharon Lockhart: Perilous Life, Baltimore Printing Cultura, Wetteren