BEAUFORT BEYOND BORDERS

PRESSFILE BEYOND BORDERS THE STORY BEHIND THE FIFTH EDITION OF BEAUFORT

“Radical alternatives are possible after all. They are even highly popular!” (American anthropologist David Graeber)

The fifth edition of Beaufort entitled ‘Beyond A DOG REPUBLIC Borders’ continues to build upon the tradition of art Musée Promenade in the public space from the previous editions, but also makes a firm choice for change and innovation. At the invitation of Beaufort Beyond Borders, ‘A Dog The Province of West Flanders is the initiating party, Republic’ is developing a major project entitled ‘Musée and along with the Department of Culture has invited Promenade’. ‘Musée Promenade’ is the title of the pro- the ten coastal municipalities to support this inno- ject along the 67 kilometres of coastline, enchanting vative artistic concept and to help accomplish it. in many ways. This ‘museum’ takes shape while walk- ing, and over time and depending on location assumes The artistic concept was developed by the curators various forms. This will include drawings in the sand, in Lorenzo Benedetti (De Appel in Amsterdam), Patrick shop windows and in Plexiglas boxes, as well as flags, Ronse (Be-Part in Waregem), Hilde Teerlinck (free- posters and texts in the streets, films, architectural in- lance curator) and Phillip Van den Bossche (Mu.ZEE stallations, pavilions, ... Visitors, hikers and passers-by in Ostend). Production, implementation and supervi- will hereby be given the space to take on an active role. sion are provided by a new coordination team estab- ‘Musée Promenade’ will be a genuine spectacle in the lished in Mu.ZEE: Anne Mouton, Laure-Anne Tillieux streets, shops, buildings, beaches, ports, and prome- and Els Wuyts. nades of the 10 coastal municipalities. Most striking will be the various architectural prototypes, based on Beyond Borders opts for a complete project along Yona Friedman’s ideas on ‘mobile architecture’ and ‘self the coast, whereby a solo exhibition by the A Dog planning’. Republic collective led by 91-year-old architect, urbanist, and designer Yona Friedman is combined The group exhibition will be spread out across three with a group exhibition at three locations in the unique locations, and will complement this unconven- province: the Zwin Nature centre along the east tional presentation. Conceived as a trilogy, some forty coast, Raversyde in the centre and visitor centre De artists will display new projects or already existing works. Nachtegaal with the surrounding Oosthoek dunes A combination of recently graduated art scholars, more along the west coast. The solo exhibition consti- established names and well-known international artists tutes the artistic link between these three loca- will take on the challenge and bring surprising and highly tions, in order to complete the continuity of Beyond diverse proposals. Think film, floral installations, neon, Borders in content and presentation. dioramas, ... Nothing is too much in this edition.

#beaufort2015 © A Dog Republic, 2015 © A Dog Republic, 2015

Beyond Borders takes place from 21 June until 21 and ‘public intimacy’ of art proposals – even though September 2015, but has the ambition of going ‘be- the scale may certainly still be large. The three lo- yond the borders’ of the exhibition itself, and of its cations where the group exhibitions will take place temporary nature. By reflecting on art in the public show strong connections with nature and are close- space, by looking for new ideas on art and architec- ly related to this approach. ture, art and science, art and urbanization, ecology, sustainability, activism, education, ... its aspiration Along with the artists and the exhibition visitors is to have a long-term impact on society. we search how ‘ideas gain traction’. Indeed, the How do contemporary artists formulate new pro- exhibition will include not only works of art but will posals within the walls of a museum, or an art exhibi- also bring lectures, small-scale concerts, perfor- tion? Following the example of “Sonsbeek buiten de mances, film screenings, workshops, a research perken” in 1971, we wish to chart the newest roads residency on ‘Comfort & Resistance’... For this pur- taken by artists, and look beyond the borders of the pose we collaborate with various organizations, art world. The curators make a conscious choice to including Vrijstaat O., VUB Crosstalks, stroom include barely any seaside and beach locations or Den Haag, Leffingeleuren, Theater aan Zee, CAHF monumentality, but in this Beyond Borders edition (Contemporary Art Heritage Flanders), Be-Part, of Beaufort respond to the demand for small scale KASK Gent, Ons Erfdeel, …

© A Dog Republic, 2015

www.beaufort2015.be PARTICIPATING ARTISTS STATE OF AFFAIRS 10 FEBRUARY

A Dog Republic Mark Manders Marti Anson Teresa Margolles Charif Benhelima Cildo Meireles Otto Berchem Helen Mirra Marc Bijl Alessandro Pessoli Katinka Bock Falke Pisano Kasper Bosmans Julien Prévieux Mariana Castillo Deball Walid Raad C L A I R E F O N T A I N E Allan Sekula Lucile Desamory Kelly Schacht Liesbeth Doms Thomas Schütte Matias Faldbakken Terry Smith Thomas Galler Superflex Pieterjan Ginckels Zhou Tao Scott King Oscar Tuazon Gabriel Kuri Rinus Van de Velde Mark Lombardi Lily Van der Stokker Ingrid Luche

#beaufort2015 SOLO EXHIBITION GROUP EXHIBITION A Dog Republic

Martí Anson A Dog Republic was initiated in 2011 by artists *1967, Mataró (ES) / lives and works in Barcelona (ES) Jean-Baptiste Decavèle, Nico Dockx and Helena Sidiropoulos, architect Yona Friedman and musician Marti Anson’s work consists mainly of photography, Krist Torfs. After many conversations in Paris and video, and installations. The viewer’s experience is Antwerp on the constitution of their republic, they essential in his work. The viewer is hereby very often along with a number of other ‘dogs’ convened to confronted with annoying situations, or situations that have various manifestations in Ludlow38 in New York completely defy expectations. For example in the work (2012), De Vleeshal in Middelburg (2012), Esther Bon Dia (1999), the viewer is invited to enter a living Donatz Gallery in Munich (2013), Mu.ZEE in Ostend room where he finds a seat, plant, TV, and a reproduc- (2013), 55th International Art Exhibition La Biennale tion of a painting. A door in this room leads to a second di Venezia (2013) and Galerie mfc-michèle didier in room which is exactly the same as the first. Paris (2014) to bring peace, rather than political vio- lence. Along with graphical designer Thomas Mayfried http://www.martianson.net/ they are also working on a series of artist books.

Charif Benhelima Yona Friedman *1967, Brussels (BE) / lives and works in Antwerp (BE) *1923, Budapest (BG) / lives and works in Paris (FR) Charif Benhelima is the son of an immigrated Moroccan Architect, theorist and urbanist Yona Friedman is no father and a Belgian mother. Due to the expulsion of the traditional thinker. With his cutting-edge ideas and former and the untimely death of the latter, Benhelima concepts on ‘mobile architecture’, ‘feasible Utopi- loses touch with both very early on. He is left behind in as’, ‘the spatial city’ and ‘self planning’, he has been Belgium as a child with a foreign name and many unan- trying to give our world a different aspect since the swered questions. This is the start of his quest for human late fifties. In doing so, he completely disregards the relationships and living conditions in a multicultural socie- borders between disciplines. Even now, in a time when ty. Identity plays a crucial role in his work. He mainly focus- issues regarding mobility, globalization, urbanization, es on photography whereby he primarily uses polaroids and migration are playing an increasingly important which are sometimes reworked into glossy Cibachrome. role, Friedman’s concepts are still relevant. He is re- He develops a suggestive formal language which leaves a garded as one of the greatest minds of the architec- great deal of space open to the viewer. The image is open tural history of the 20th and 21st centuries. to the observer’s own interpretation. http://www.yonafriedman.nl/ http://www.benhelima.com/

Otto Berchem *1967, Milford (USA) / lives and works in Amsterdam (NL) and Bogota (CO)

In his work, American artist Otto Berchem investigates how communication and social codes come about and how they influence our lives. His journey from America to Europe, whereby he discovers both the world and his own fears and weaknesses, repeatedly forms the

www.beaufort2015.be starting point. Moreover, his work is often created in without content, despite the fact that his designs the public space or in a non-artistic context whereby he contain an aesthetic aspect. He engages in experi- consciously attempts to enter the lives of the viewers. ments in order to stay alert and broaden his vision. Therefore he is not so much about creating art, but http://www.ottoberchem.com about experimenting with shapes and activities. Bosmans uses certain aspects of objects or phe- nomena from nature or our daily lives in order to ob- Marc Bijl serve, dissect, re-contextualize them, and perhaps *1970, Leerdam (NL) / Lives and works in (DE) in another way, render them visible.

Marc Bijl is a versatile and surprising artist. He http://www.tatjanapieters.com/ switches between political commitment and every- day issues, and the use of imagery, text and music with equal ease. The early work by this artist is char- Mariana Castillo Deball acterized by the use of visual elements and symbols *1975, Mexico City (MEX) / Lives and works in among others from the punk and goth subcultures, Berlin (DE) with the intention of making the viewer consciously consider political, economic, and national themes. In her work, Mariana Castillo Deball adapts methods His more recent work is more abstract and minimal- from other fields: philosophy, archaeology, science, istic, but the visualization of various viewpoints on visual arts, and the art of storytelling. This playful ap- issues of some importance remains. proach to knowledge, and the freedom not to choose one discipline over another, enables her to maintain http://www.studiomarcbijl.com her sense of humour, which is essential to her work. By means of an interdisciplinary and non-linear build- up, arrangement, and re-arrangement of information, Katinka Bock imagery, and stories, her sculptures, installations, *1976 am Main (DE) / Lives and works in films, interventions, and book projects mesh histor- Paris (FR) and Berlin (DE) ical fact and myth. She deconstructs specific history and classifications in advance in order to liberate the German artist Katinka Bock’s work mainly focuses on contents from imposed ideologies and to enable new landscapes, the city, and the context of exhibitions. readings and interpretations. The role of coincidence Her installations, constructions, sculptures, films, or and the notion of failure are at the heart of Castillo photos show a strong bias towards studying the con- Deball’s work. cept of territory, its history, uses, and symbols. Bock experiments with simple and natural materials in or- www.wienlukatsch.de der to establish historical, physical, and social links between the elements. C L A I R E F O N T A I N E http://www.galeriewolff.com/artists/katinka-bock *2004, Paris (FR) / works in Paris (FR) Collective consists of: Fulvia Carnevale *1975 and James Thomhill *1967

Kasper Bosmans Artist collective C L A I R E F O N T A I N E , named *1990 Lommel (BE) / Lives and works in Lommel (BE) after the brand of schoolbooks with the same name, works as a self-proclaimed readymade artist. The Young artist Kasper Bosmans mostly makes paint- collective has developed a body of neo-conceptual ings and sculptural interventions. In his own words art that often resembles the work of others. Vari- he produces superficial paintings and drawings ous forms such as neon, video, sculpture, painting, starting from a grid. To him they are illustrations and text define the work. The collective constantly

#beaufort2015 questions political inability and the lack of idiosyn- Faldbakken’s early works easily mirror gestures asso- crasy in contemporary art. ciated with threat: terrorism, drug addicts, graffiti, ... Remnants of burnt-out cars, piles of liquor bottles, http://www.clairefontaine.ws/bio_fr.html tiles walls with erased graffiti create a desolate landscape to which is added a few images found on the internet, a number of paintings or panels which Lucile Desamory Faldbakken adapts with tape or paint. By multiply- *1977, Brussels (BE) / Lives and works in Berlin (DE) ing the gestures of destruction or desolation, but making use of their aesthetics, Faldbakken tries Lucile Desamory started out at the age of twenty to display ‘the will to express nothing’, and main- with the creation of films, from slapstick whereby tain balance therein. He transforms and recon- the body plays the lead role to minimalistic horror figures cultural signifiers in order to point out the and animation. In addition to film, her work also con- disappearance of cause and effect. He pushes the sists of collages with textile or paper, dioramas, per- symptoms of an estranged and egocentric society formances. Here too the body in all its facets is key, to the limit. whereby the interplay between perspective, figura- tion, and abstraction, scale and size is likewise never www.standardoslo.no/en/artist/matias_faldbakken far off. Collaboration is important for Lucile Desamo- ry, and she has collaborated among others with Lucy McKenzie, Birgit Megerle ,and Nicolas Bussmann. Thomas Galler *1970, Baden (CH) / Lives and works in Zürich (CH) http://luciledesamory.net/ Galler uses a conceptual approach in his broad and versatile body of work. His artistic production com- Liesbeth Doms prises video work, objects, installations, and photo- *1989, Lives and works in Antwerp (BE) graphs, and is based on the use of existing materials such as text, imagery, film, or audio documentation. Doms’ artistic work is aimed at questioning the man- Galler’s works are created by means of a phased ner in which the art system shapes and emphasizes method of searching, analyzing, selecting, and again the biography of artists in relation to their work. The contextualizing the selected material. When an ob- artist considers subjects such as biography, person- ject or document is pulled from its usual structure ality, and artistic genealogy as senseless burdens and moved into the area of art defined by its own which she converts to conceptually usable elements laws, a shift in meaning occurs. in a playful and humorous way. The biographies seem to mainly focus on ‘young’ and ‘non-Western’ artists, http://thomasgaller.ch from a desire to establish them as individuals, both when it comes to society and culture and art-histo- ry. She produces various means and situations which Pieterjan Ginckels allow for the presentation of temporary biographies: *1982, Tienen (BE) / Lives and works in Brussels (BE) histories behind which one can hide, offering alterna- tives that are credible and tempting all at once, but Architect Pieterjan Ginckels made a conscious also limits to the absurd move to visual art after the group exhibition Sper- vuur by curator Guillaume Bijl. But Ginckels disre- http://www.liesbethdoms.com/ gards the borders of disciplines, media, ‘higher’ and ‘lower’ art forms; he is keen to exceed them often. His work consists among others from drawings, Matias Faldbakken sculptures, video, but performances and music are *1973 Hobro (DK) / Lives and works in Oslo (NO) also featured. Steadfastness is the basis for his

www.beaufort2015.be work, i.e. daily life and everyday objects in all their American neo-conceptual artist Mark Lombardi is pri- possible facts. marily known for his sketches which he calls ‘narrative structures’. Lombardi lived and worked in Houston http://www.pieterjanginckels.be/ for twenty years where he was active as an abstract painter, librarian/archivist, and gallerist. He was fas- cinated by financial and political power relationships, Scott King conducting an investigation into the matter and writ- *1969, Goole (UK) / Lives and works in London (UK) ing on the subject frequently. He realized however that his detailed sketches were more interesting than King started his professional career as a highly val- his writings. The use and abuse of power is always at ued graphical designer working as an art and creative the heart of his work. director for fashion magazines ID and Sleazenation in the 1990s. He also designed many record covers for http://www.pierogi2000.com/artists/mark-lombardi/ pop icons such as the Pet Shop Boys and Morissey. Already in these commercial projects, King operat- ed outside of the conventional frameworks of these Ingrid Luche aesthetically oriented companies. In addition to his *1971 Antibes (FR) / Lives and works in Paris (FR) commercial activities, King has always initiated in- dependent projects which used the media, formats, Ingrid Luche explores the sensory observation of archi- and aesthetic vocabulary of mass communication in tecture and public spaces, recreating them via sculp- order to undermine them at a basal level. ture, photography, and site-specific installations. Her work are difficult to define, as they are not completely http://www.scottking.co.uk/ autonomous (presentation and set-up depend on lo- cation), site-specific (their shapes never change), or sculptural (they function paradoxically, i.e. in the use Gabriel Kuri of light). The viewer will recognize in her work the daily *1970, Mexico City (MEX) / Lives and works in Los functional shapes from which she draws her inspiration, Angeles (USA) but these shapes are starkly outlined by a boundary between reality and dream. The spaces she creates in Gabriel Kuri works in a broad range of media such as her exhibitions are remnants of places passed by and installations, sculpture, collage, and photography. He suffused with a now unconscious experience. often finds materials in simple mass-produced ob- jects and disposable products. These can be every- http://www.ingridluche.com/ day objects such as newspapers, receipts, pack- aging, shopping bags, or building materials such as marble or concrete. He reconfigures the meaning of Mark Manders these materials. He occupies himself with questions *1968, Volkel (NL) / Lives and works in Arnhem (NL) regarding colour, materials, shape, and also reality. and Ronse (BE) With his work he wishes to call attention to modern consumption culture and the circulation of money, Since the late eighties, Manders has been working energy, and information, both in our global economy on his installation ‘Self portrait as a building’. All and in our daily activities. of his later works are fragments of this imaginary ‘house’, in which the artist houses his memories, http://www.estherschipper.com/Gabriel-Kuri thoughts, and dreams. This concept of the ‘me’ as architecture, as building, results for this artist in an art which sees sculpture as a spatial materialization Mark Lombardi of highly intimate emotions. His fragments form *1951, (USA) / 2000, New York City (USA) chimneys, newspapers, brick walls, chairs, fossil-

#beaufort2015 ized cats, and small personal objects. All of these Helen Mirra objects are tranquil, undefined, and indistinct. *1970, Rochester (USA) / Lives and works in Cambridge (USA) http://www.markmanders.org/ The varied artistry of Mirra comprises sculpture, film, video, language, and sound. Her minimalistic works Teresa Margolles often refer to the earth, sea, and sky through the con- *1963, Culiacan (MEX) / Lives and works in Mexico sistent use of a green, blue, and brown colour scheme. City (MEX) Throughout her work, one can notice an interest in the relationship between the natural world and the people Margolles’ work revolves around themes such as who inhabit it. A further interest in both film history death, violence, and social exclusion. Her works are and film structure is most explicitly manifested in a minimalistic in execution, are produced against a so- continuous set of works created from 16mm canvas, cial background where victims of violent crime are a which Mirra sees as “silent silent films”. daily reality. The raw use of materials reflects this moving theme. Margolles does not shy away from http://www.hmirra.net/ incorporating elements such as blood, human fat, or human and animal bodies in her sculptures and in- stallations. Her recent work focuses on the extreme Alessandro Pessoli drug violence raging in northern border town Ciudad *1963, Cervia (IT) / Lives and works in Los Angeles (US) Juárez. Alessandro Pessoli (1963) creates suggestive draw- http://www.peterkilchmann.com/teresa-margolles ings, paintings, and sculpture, often presenting ex- pressive, seemingly melancholic figures within unde- fined spaces and dreamlike stories. His work is rich in Cildo Meireles historic references to film, theatre, and art, but is also *1948, Rio de Janeiro (BRA) / Lives and works in replete with elements from daily life, popular culture, Rio de Janeiro (BRA) and chance encounters. According to Pessoli, history is not fixed, but more a shifting space whose meaning Brazilian artist Cildo Meireles is generally regarded is defined for each different point in time and each in- as a major figure in the development of Brazilian con- dividual. Pessoli is interested in the use of history as ceptual art. Since the late 1960s she has created a prism to understand the world around him, but also sculptures and installations containing an element as a means to explore the subconscious. of participation, often by focusing attention on the body in space and time, as a physical being, but also www.xavierhufkens.com/artists/alessandro-pessoli as a psychological, social, and political being. His work exudes the legacy of neo-concretism, a Bra- zilian movement from the late fifties which rejected Falke Pisano the extreme rationalism of geometric abstraction in *1978, Amsterdam (NL) / Lives and works in Berlin (DE) favour of more sensory, participatory works engag- ing both mind and body. Characteristic is the scale In her work, artist Falke Pisano shows the results of of his works, Meireles does shy away from monu- detailed research into processes which occur when mentality. the state of an ‘object’ experiences a shift in form, material, meaning, or role. Her performances, texts, http://www.galerialuisastrina.com.br/en/artists/ videos, or interviews are enclosed in a continuous cildo-meireles/ traffic of exchange and transformation. She stud- ied at the Jan van Eyck Academy in Maastricht, and received the Prix de Roma for Visual Arts in 2013,

www.beaufort2015.be where she surprised the judges with a political in- Sekula was a renowned photographer, theorist, pho- stallation in which she reflects on the ‘body in cri- tographic historian, and critic. His early works re- sis’ by means of an emotionally involving historical sulted from his political anti-war commitment as a analysis of the consequences of the privatization of student. Since the beginning of the 1970s, his work prisons. has challenged perceptions of the role of photogra- phy as a visual art form and as a documentary me- http://www.falkepisano.info/ dium. Through the use of photographs and slides in combination with text, Sekula investigated economic systems, trade, labour, and globalization, as well as Julien Prévieux how they intersect with our individual lives and land- *1974, Grenoble (FR) / Lives and works in Paris (FR) scapes. The sea and in particular maritime transpor- tation played a big role in his work. Since the beginning of his artistry, Prévieux has been developing a body of work in which he infiltrates vari- http://michelrein.com/en/artistes/expositions/1/ ous systems (social, economic, architectural...) in or- Allan+Sekula der to demonstrate their absurd nature. In doing so, he wields different strategies, from appropriation to imitation and parody. Perhaps his most famous work Kelly Schacht is his Lettres de non-motivation (2000-ongoing): let- *1983 Roeselare (BE) / Lives and works in Ghent (BE) ters he sends in response to vacancies. In her work, Kelly Schacht plays with the notions of www.previeux.net originality and authorship, this in a time when terms such as ‘new’ and ‘unique’ have become very relative. Objects and moments from the past are commemo- Walid Raad rated in order to generate a new experience. The ac- * 1967, Chbanieh (LB) / Lives and works in Beirut (LB) tion and the (exhibition) space in which it takes place and New York (USA) are explored. The space is a dynamic concept be- cause the perception and experience thereof depend Primarily known under the name The Atlas Group, on who enters the space. The artist therefore acts Raad explored the modern history of Lebanon for as a ‘catalyst’ to a multitude of personal experiences 15 years, producing imaginary photographs, videos, and interpretations which gain a future of their own in notebooks, and lectures relating to actual events, this way. Schacht collaborates with designers, actors, and actual research in audio, film, and photograph- singers, and her audience. ic archives in Lebanon and elsewhere. His work is dedicated to the exploration of the veracity of pho- http://www.kellyschacht.be/ tographic and video documentation in the public do- main, the role of memory, and the narrative within the discourse of conflict, and the creation of the histories Thomas Schütte behind art in the Arabic world. Raad was influenced by *1954, Oldenburg (GE) / woont en werkt in the civil war (1975-1990) and by the socio-economic Düsseldorf (GE) and military policy which has shaped the Middle East over the past decades. In his work, Schütte uses various media such as in- stallation, sculpture, print, drawing, and watercolour http://www.theatlasgroup.org/ painting. They assume various and often contradic- tory forms. His work looks utilitarian, and provides maintenance, housing, and company, but brings Allan Sekula false promises and strange worlds. He makes use of *1951, Erie (USA) / 2013, in Los Angeles (USA) a broad spectrum of colours and a range of materi-

#beaufort2015 als to revise the basic components – be they nat- counterfeit Lacoste shirts with ‘Supercopy’ printed ural, cultural, or political – of daily life, by exploring on them to advertise their fakery. the fundamental question on the artist and society. http://superflex.net/ http://www.thomas-schuette.de/

Zhou Tao Terry Smith *1976, Changsha (China) / Lives and works in *1956, Londen (UK) / Lives and works in London (UK) Guangzhou (China)) The video work by Chinese artist Zhou Tao reflects Terry Smith’s art is rooted in the artistic movements on the activities and facets of daily life. Our con- of American conceptualism and European postmin- stantly changing identity interacting with others imalism. Smith studied ad Goldsmiths and worked in and reality inspire him to no end. Tao is part of a gen- London during the heyday of the Young British Artists. eration of Chinese artists who consciously experi- However, he was never seduced by the glamour and enced the swift urbanization and industrialization of high-profile performances of his contemporaries and their native land. This too is a theme one finds in his chose to follow his own path. He focused on investi- work. The artists did not make a conscious decision gating the manner in which the complexity of ideas, to use video as a medium or a language. The close materials, and the mundane can be combined. Re- link between the result of the camera and daily real- cently he has been creating large-scale installations ity particularly sparked his imagination. and site-specific interventions which are not always accessible to the public. In addition he ventures into the field of performance and has interviews with art- Oscar Tuazon ists, curators... *1975, Seattle (USA) / Lives and works in Paris (FR) and Tacoma (USA) http://www.arts.clara.net/arts/smith_terry.html The sculptures and installations of American artist Os- car Tuazon refer to minimalistic sensibilities, extreme SUPERFLEX DIY aesthetics and native architecture. They are often *1993, Copenhagen (DK) / works in Copenhagen (DK) created form combinations of natural and industrial materials. His works retain an improvised impression Collective consists of: Bjørnstjerne Reuter and are the result of Tuazon’s years of fascination with Christiansen *1969, Jakob Fenger *1968 and the manner in which the already built-up environment Rasmus Nielsen *1969 is redefined and redesigned by virtue of habitation. With his work, Tuazon wishes to push the spectators Danish collective Superflex provides suggestions to walk around and through his installations and sculp- for social and economic change. It does not produce tures in order to gain the full experience. works of art as such, but ‘instruments’, i.e. a range of productions. These ‘instruments’ are multiform www.jonathanvinergallery.com/artists/oscar_tuazon interventions which seeks to expose repression, power, and conviction. The collective also develops critical projects regarding copyright, creative goods, Rinus Van de Velde and brands. For instance, it has purposely utilized the *1983, Antwerp (BE) / Lives and works in Antwerp (BE) phenomenon of cheap imitations of Western prod- ucts produced in the Far East to draw attention to At the basis of the drawings by young Belgian art- the way in which multinationals use cheap, unregu- ist Rinus Van de Velde is an obsessive documentary lated labour to produce brand clothing. They do this process, whereby he goes to work with a self-made by means of their Supercopy series consisting of archive of photographic images. It cannot simply be

www.beaufort2015.be ascertained precisely what images are eligible, but it Lily Van der Stokker is clear that they carry an implicit ideological charge, *1954, Den Bosch (NL) / Lives and works in Amsterdam that they bear witness to an orderly world view, of a (NL) and New York (USA) contemporary myth. However, Rinus Van de Velde is no documentary artist, and therefore he does not Most works by Lily Van der Stokker assume the shape treat his archive materials as objets trouvés, but as of extensive decorative murals, often with a childlike basic materials for charcoal drawings. Not so much to innocence and naivety. In a disarmingly shameless capture a specific essence or to dismantle the struc- and exuberant manner, they deal with ideas of beau- ture of the image, but for the effect of the drawing ty, love, relationships, or family. Despite, or perhaps itself, for the value assigned to it by the viewer. because of their apparent simplicity, her works are often challenging and are situated within a growing www.rinusvandevelde.com discourse around feminist practices. She plays with stereotypical femininity and calls her style ‘nonshout- ing feminism’ whereby she does not shy away from the sentimental. She gained fame earlier in the late 1980s and early 1990s when she started exhibiting in Centre Pompidou, Paris, and Minneapolis Walker Art Centre.

www.galerievangelder.com/artists/stokker2.html

#beaufort2015 CURATOREN

Phillip Van den Bossche in Mulhouse, . Other projects were i.a. ‘Eurasia, *1969 Brussels (BE) / lives and works in Ostend (BE) Geographic Cross-over in Art’, Mart, Rovereto, Italy (2008); ‘Cabinet of Imagination’, Netwerk, Aalst, Bel- Phillip Van den Bossche studied art history in Ghent gium (2008); and ‘The Third Tiger (Rossella Biscotti, and attended the Curatorial Training Programme Mark Manders, Olaf Nicolai) Camere XVI, RAM, Rome of De Appel in 1996/97 in Amsterdam. He worked (2011). He writes regularly for magazines and exhibi- from 2001 as curator at the Van Abbemuseum in tion catalogues. Eindhoven and has been director of Mu.ZEE in Ostend since 2007. In 2009 and 2012 he was curator of the third and fourth edition of Beaufort. In recent years Hilde Teerlinck he curated exhibitions of and published books about *1966 Assebroek-Brugge (BE) / lives and works in On Kawara, Koenraad Dedobbeleer, Rita McBride, Bourges (FR) Joe Scanlan, Frances Stark, Jean Brusselmans and Jos de Gruyter & Harald Theys. He also wrote about From 1994 until the end of 1999 Hilde Teerlinck was Anne-Mie Van Kerckhoven, Bas Jan Ader and Ger van artistic director of the Mies van der Rohe Pavilion in Elk in Los Angeles, amongst other for “In & Out of Barcelona where she invited renowned artists such Amsterdam – travels in Conceptual Art 1960-1976” as Jeff Wall, Panamarenko, Ulrich Meister, Thomas (MoMA, 2009). In 2012 he published the children’s Ruff to create site-specific interventions. Subse- book ‘Het dierencarnaval’ (The animal carnival) with quently she moved to Perpignan, France, to found a artworks from the collection of Mu.ZEE. kunsthalle where she organised several exhibitions and workshops with upcoming international talent. In 2002 she became director of the Centre Rhénan Lorenzo Benedetti d’Art Contemporain (CRAC Alsace) in Altkirch. She *1972 Rome (IT) / lives and works in Amsterdam (NL) presented the work of promising young artists as and Paris (FR) Andro Wekua or Harmony Korine, as well as work of well-known artists as Rineke Dijkstra, Cindy Sher- Since 2014 Lorenzo Benedetti is director and curator man, Ai Weiwei or Franz West. Since 2006 Teerlinck of De Appel in Amsterdam. He has worked as director has been director of the FRAC (Fonds Régional d’Art of De Vleeshal, Middelburg, in the since Contemporain) Nord-Pas de Calais in Dunkirk until 2008, and became widely known as curator of the the end of August 2014. Teerlinck is also president Dutch Pavilion at the 55th Biennale of Venice in 2013. of the Nefkens Foundation/Barcelona, and she colla- He studied art history at La Sapienza in Rome and at- borates with institutions like SMAK in Belgium, Boij- tended in 1999 the Curatorial Training Programme of mans van Beuningen and Marres in the Netherlands, De Appel. In 2005 he founded The Sound Art Muse- Turner Contemporary in the United Kingdom or MAC- um in Rome, a space dedicated to sound in visual art. BA in . Previously he has also been director of the art center Volume! in Rome, curator at the museum MARTa Her- ford in , and guest curator at La Kunsthalle

www.beaufort2015.be Patrick Ronse Tuymans, Raoul de Keyser, René Magritte and Emile *1962 Beernem (BE) / lives in Oostende and works in Claus. In 1998 he was in charge of the communica- Waregem (BE) tion for the exhibition of Marcel Broodthaers in the Groeningemuseum in Bruges. Ronse was also from Patrick Ronse is since 2004 artistic director of Be-Part, 1999 until 2002 responsable for the national promoti- Platform voor actuele kunst in Waregem, Belgium. He on at the Communication Department of Bruges 2002, studied art history and archeology at the Universiteit Cultural capital of Europe. For Be-Part he has already Gent. In 1988-1989 he worked in de gallery De Lege organised 40 exhibitions with work of i.a. Rinus Van de Ruimte in Bruges. Subsequently Ronse was from Velde, Ante Timmermans, Pieterjan Ginckels, Nicolas 1990 until 1997 responsible for the communication Provost, Marcel Van Eeden, and Charif Benhelima. He at the PMMK-Oostende (now MuZEE), where he col- has been involved in the publication of several artists’ laborated amongst other on solo exhibitions of Luc books the past few years.

#beaufort2015 PRACTICAL BEAUFORT BEYOND BORDERS From 21.06.2015 until 21.09.2015 INFORMATION Every day from 10 a.m. until 6 p.m.

Participation card All information on www.beaufort2015.be The fifth edition of Beaufort Beyond Borders is a Follow us on facebook, twitter and instagram! participation project: for 5 Euros you can visit all Register for our monthly newsletter via locations once during the three months, receive a www.beaufort2015.be publication in PDF format, a collection folder in which to collect the various stories, and participate in the Contact realization of a textbook for schools. For further questions or specific requests in regards to photo or text material please contact: Visit Beaufort beyond borders with a guide IN A GROUP ANNE MOUTON The Vizit organization developed two group formulas Project coordinator ‘Beaufort Beyond Borders’ in collaboration with Beaufort Beyond Borders. With a +32 (0) 59 56 45 90 group of 20 to 25 people you can book a 3-hour tour +32 (0) 490 44 29 21 or a 4-hour tour with a picnic. [email protected] Prices, more information, and customized programme on www.vizit.be or [email protected] TIP: Also visit the Bruges Triennial in 2015, from 20 Individual May until 18 October, and Counter 7 in Mechelen You can also discover Beaufort Beyond Borders with a from 29 August until 8 November 2015. guide as an individual or in a small group. Prices, dates, and specific locations visited during these individual tours can also be found on www.vizit.be

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