PROGRAMME

NEWSPAPER JAN MOT – JAARGANG 10 – NO. 54

On secrecy seeping through the darkness of – life in the Abbey was often described as shocked by the members’ preference for centuries, before suddenly resurfacing in the bleak. The house had neither gas nor elec- bathing nude. It was the tragic death of “mystic” 1960s, and settling as a minor but tricity, and no plumbing. General conditions Raoul Loveday – from enteric fever, con- constant presence within mainstream con- were unsanitary in the extreme, and in the tracted by drinking water from a mountain sumer culture. The “” hasn’t left many summer the air was thick with fies, gnats spring in the Cefalù countryside – and the monuments, mostly dusty manuscripts and mosquitoes. With Crowley as a drugged, ensuing storm in the British press against found or “rediscovered” in forgotten boxes benevolent dictator at best, and a gruesome, Crowley and the Abbey, which prompted in libraries or bookstores, or an occasional perverted manipulator at worst, days at the headlines like “Orgies in ,” that led alchemical symbol engraved in a church or Abbey could be harsh. On top of that, the Mussolini to order the community closed. on a building, which surprisingly survived magical training was rigorous and unrelent- The directive came as part of a crackdown the vigilant eye of the Inquisition. Nor are ing. Newcomers would spend the night in to suppress breeding grounds for dissent. If the historical fgures of this “occult” easy La chambre des cauchemars – “The Room not exactly politically dangerous, Crowley to trace. Real identities are typically veiled of Nightmares” – its principle features: three and the others were at best undesirable. On by disguises and pseudonyms making me large walls painted in fresco, representing April 22, 1923, the Abbey came to an end. doubt if these people ever actually existed. earth, heaven and hell, depicting mostly The Italian authorities carefully covered the Some relatively recent and verifable sourc- demons, goblins and graphic sex scenes. frescos, the magic circle on the foor and es can be mentioned, however. One is the Here, the new student of magic would expe- other traces of the previous activities with a French Socialist and Kabbalist, Alphonse rience “The night side of Eden” primed by coat of whitewash. Louis Constant (1810–1857) better known a “secret process” – probably a potent mix- as Eliphas Lévi, who in his book The His- ture of hashish and opium, administered by tory of Magic (1859), brought together sev- Crowley – as the walls came alive. The idea eral different strands of esoteric thought – in behind the ordeal was to contemplate every According to experimental flmmaker Ken- effect, inventing occultism – and infuenced possible phantom that can assail the soul, to neth Anger, the villa subsequently sat aban- artists like Arthur Rimbaud, J. K. Huys- face the “ of Horror,” and thereby gain doned for more than 30 years. Maybe also mans, André Breton and Erik Satie. Another mastery over the mind. This approach was forgotten – sleeping – until Anger in 1955 is The Hermetic Order of the Golden Dawn, strikingly similar to what was practiced 43 re-found the villa and obtained permission to an early twentieth century esoteric society in years later in Timothy Leary’s community, remove the whitewash, which had “turned , and its renegade member, Aleister Catalina, founded in a vacant hotel in the to stone.” Anger spent three months work- Crowley (1875–1947). Crowley’s portrait sleepy Mexican beach town of Zihuatanejo, ing on the walls and foors, gradually reveal- was included on the cover of The Beatles’s where members would sit alone in a life- ing “all those hyper-psychedelic murals” in Sergeant Pepper album, and his imagery guard tower on the beach, dosed on LSD, “The Room of Nightmares” and on doors fnds its way into the songs of John Lennon summoning the forces of the “irrational,” and shutters, planning a photo shoot on loca- and David Bowie among others revealing trying to break through to the other side. tion, in which the costume of the sorcerer in Crowley’s position as a progenitor and ava- the dreamy flm Children of Paradise (1945) tar of the occult’s thriving within the coun- With a curriculum of ordeals like nights – a blue velvet robe emblazoned with the ter-culture. spent in “The Room of Nightmares,” daily word “ABRA” – would appear. Whether the in the Temple, and solitary and shoot actually happened is unclear. Anger’s exhausting “magical” retreats on the nearby documentary, made during his stay, was lost cliff, coupled with the Spartan living condi- by Hulton Television. What still circulates is On March 1, 1920, and a tions, it is perhaps evident why the Abbey a series of photographs of the restored Ab- group of devotees, arrived at Cefalù, Sicily, of never attracted more than a bey. One of them depicts Anger in conversa- and moved into a small house at the outskirts small group of visitors and benefactors. So tion with the sexologist Alfred C. Kinsey. On of town. The house, formerly called Villa much for free love, and “Do what you will.” the back wall is Crowley’s portrait and on a Santa Barbara, was renamed The Abbey of Crowley was decidedly more lenient with door, one of the newly uncovered paintings, Thelema, inspired by the French writer Rab- his own sexual excesses than with others a mountainous landscape made in a fantasy- elais, who in the concluding chapters of his and there was a catch to the word “will.” It like style. Anger had met Kinsey when the book Gargantua (1534), describes an ideal also didn’t help the cause of Thelema that a doctor approached him to purchase a print of community named “Thélème,” which had number of visitors left with a heroin habit his frst flm Fireworks. While Anger was an the governing maxim “Do what you will.” as an unwanted souvenir. But in the end it ardent follower of Crowley’s magic, Kinsey Though hedonistic, centered around Crow- was not the liberal use of drugs, the inher- thought that Crowley was “the most promi- ley’s own version of magic – and ent contradictions in the teachings, or local nent fraud that ever lived.” Kinsey neverthe- yoga, with a particular emphasis on tantric prejudice that eventually led to the demise less saw Crowley as a brilliant homoerotic practices, hetero- and homosexual rituals, of the Abbey – the Cefalù locals did tolerate writer, and was interested in discovering and the use of drugs to heighten intensity the community, though they were frequently more information about Crowley’s sex mag- Newspaper Jan Mot verschijnt vijfmaal per jaar in januari – maart – mei – augustus – oktober No. 54, oktober 2006 Erkenningsnummer P309573 Afgiftekantoor 1000 Brussel 1 V. U . Jan Mot, Antoine Dansaertstraat 190, 1000 Brussel

janmot_programme_2.indd 1 25-10-2006 12:54:58 2 PROGRAMME

PROGRAMME

Programme is the title of a series of screen- I continued my exploration wondering if the way into “The Room of Nightmares.” The ings, discussions, presentations, concerts Abbey could be seen as a sort of monument, room bore traces of vivid green paint and I and performances organised by the gal- when the gaping hole in the roof reminded recognized a few of the frescos from Anger’s lery. For this exhibition, which will last me of Robert Smithson’s site specifc sculp- photographs, though in a much worse state. until the Spring of 2007, the front space of ture Partially Buried Woodshed. Even Its walls were scrawled with graffti and the the gallery is transformed into a proper though Smithson, in this and other pieces, rest of the house a mess of tiles, dust and dis- screening room. intentionally worked with a narrow but very carded furniture – it felt like being in a hollow The practical information on the different deep historical space, the Partially Buried place. As I climbed out, and stood in the gar- events of Programme (program, screening Woodshed was transformed into a political den again, I suddenly noticed how close the hours etc.) are announced exclusively landmark by someone adding the graffti newly built houses were – just on the other through the gallery’s website and through “May 4 Kent 70,” to commemorate the four side of the mithson’s site specifc sculpture e-mail. If you are not yet on our mailing students killed by Ohio National Guards- Partially Buried Woodshed. Even though list, please contact us if you want to re- men during an anti-war protest. The later at- Smithson, in this and other pieces, intention- ceive the fortnightly e-mails. tempts by Kent University to get rid of the ally worked with a narrow but very deep his- Woodshed were in reality efforts to obscure torical space, the Partially Buried Woodshed this particular history, since what Smithson’s was transformed into a political landmark obtain from an older book, made fnding the ruin symbolized was viewed as an embar- by someone adding the graffti “May 4 Kent Abbey a challenge. As I walked through the rassment. Eventually, the university planted 70,” to commemorate the four students killed area, which once was “the southeastern out- a circle of trees around the Woodshed so it by Ohio National Guardsmen during an anti- skirts” of Cefalù, I started to doubt whether couldn’t be seen from the road. And so, the war protest. The later attempts by Kent Uni- the house still existed. This area did not share monument dissolved and came to an end, versity to get rid of the Woodshed were in re- the characteristics of a place that might ac- discretely hidden by a veil of trees. Thinking ality efforts to obscure this particular history, commodate “leftover” or “ambiguous” about this I climbed through the only win- since what Smithson’s ruin symbolized was spaces. Instead of vacant lots I found my way dow that was not boarded up, and made my viewed as an embarrassment. Eventually, blocked by the barrier of a gated community, or newly built condos with BMWs and Por- (advertisement) sches crowding the parking lots. It was only after hours of walking in circles, almost by chance and out of the corner of my eye, that I PROGRAMME caught a glimpse of a caved-in roof near the stadium. I realized I had been within meters of the house several times before, standing in the parking lot of the stadium, scanning the sloping hillside without noticing the house If you are not yet on our e-mailing list, please contact us at right next to me, hidden behind a wall of offi[email protected] greenery and palm trees. For all information on Programme, visit The house and garden of the Abbey were www.janmot.com completely overgrown in a strangely evoca- tive way. As I walked the faintly visible path to what was once the main entrance, I was so overwhelmed by the scene’s dormant quali- ties that I had to pause. It seemed to me as if Jan Mot sediments, pieces of leftover narratives and Rue Antoine Dansaertstraat 190 ideas from the individuals that once passed B-1000 Brussel Bruxelles through this place had formed knots, as tan- tel: +32 2 514 10 10 gled as the bushes and trees that where now fax: +32 2 514 14 46 taking over, creating a kind of sleeping pres- ence.

janmot_programme_2.indd 2 25-10-2006 12:54:59 PROGRAMME 3

MORNING OF THE MAGICIANS JOACHIM KOESTER

Joachim Koester, The Abbey of Thelema. Black and white photograph, 48 x 61 cm, 2005

BRUSSELS, 23 OCT. – For his upcoming Koester recently rediscovered. On these in secrecy seeping through the darkness of solo exhibition at the Palais de Tokyo in works the artist wrote the following text. centuries, before suddenly resurfacing in the , Joachim Koester chose a group of “mystic” 1960s, and settling as a minor but works entitled Morning of the Magicians constant presence within mainstream con- (2005-2006). Besides a series of 10 pho- sumer culture. The “occult” hasn’t left many tographs, it includes two film works all The history of the occult is also a history monuments, mostly dusty manuscripts based on a fascinating place in Sicily that of the obscure. A history of ideas shrouded found or “rediscovered” in forgotten boxes

janmot_programme_2.indd 3 25-10-2006 12:55:01 4 PROGRAMME

WITH CROWLEY AS A DRUGGED, BENEVOLENT DICTATOR AT BEST, AND A GRUESOME, PERVERTED MANIPULATOR AT WORST, DAYS AT THE ABBEY COULD BE HARSH

in libraries or bookstores, or an occasional tricity, and no plumbing. General conditions prejudice that eventually led to the demise alchemical symbol engraved in a church or were unsanitary in the extreme, and in the of the Abbey – the Cefalù locals did tolerate on a building, which surprisingly survived summer the air was thick with fies, gnats the community, though they were frequently the vigilant eye of the Inquisition. Nor are and mosquitoes. With Crowley as a drugged, shocked by the members’ preference for the historical fgures of this “occult” easy benevolent dictator at best, and a gruesome, bathing nude. It was the tragic death of to trace. Real identities are typically veiled perverted manipulator at worst, days at the Raoul Loveday – from enteric fever, con- by disguises and pseudonyms making me Abbey could be harsh. On top of that, the tracted by drinking water from a mountain doubt if these people ever actually existed. magical training was rigorous and unrelent- spring in the Cefalù countryside – and the Some relatively recent and verifable sourc- ing. Newcomers would spend the night in ensuing storm in the British press against es can be mentioned, however. One is the La chambre des cauchemars – “The Room Crowley and the Abbey, which prompted French Socialist and Kabbalist, Alphonse of Nightmares” – its principle features: three headlines like “Orgies in Sicily,” that led Louis Constant (1810–1857) better known large walls painted in fresco, representing Mussolini to order the community closed. as Eliphas Lévi, who in his book The His- earth, heaven and hell, depicting mostly The directive came as part of a crackdown tory of Magic (1859), brought together sev- demons, goblins and graphic sex scenes. to suppress breeding grounds for dissent. If eral different strands of esoteric thought – in Here, the new student of magic would expe- not exactly politically dangerous, Crowley effect, inventing occultism – and infuenced rience “The night side of Eden” primed by and the others were at best undesirable. On artists like Arthur Rimbaud, J. K. Huys- a “secret process” – probably a potent mix- April 22, 1923, the Abbey came to an end. mans, André Breton and Erik Satie. Another ture of hashish and opium, administered by The Italian authorities carefully covered the is The Hermetic Order of the Golden Dawn, Crowley – as the walls came alive. The idea frescos, the magic circle on the foor and an early twentieth century esoteric society in behind the ordeal was to contemplate every other traces of the previous activities with a London, and its renegade member, Aleister possible phantom that can assail the soul, to coat of whitewash. Crowley (1875–1947). Crowley’s portrait face the “Abyss of Horror,” and thereby gain was included on the cover of The Beatles’s mastery over the mind. This approach was Sergeant Pepper album, and his imagery strikingly similar to what was practiced 43 fnds its way into the songs of John Lennon years later in Timothy Leary’s community, According to experimental flmmaker Ken- and David Bowie among others revealing Catalina, founded in a vacant hotel in the neth Anger, the villa subsequently sat aban- Crowley’s position as a progenitor and ava- sleepy Mexican beach town of Zihuatanejo, doned for more than 30 years. Maybe also tar of the occult’s thriving within the coun- where members would sit alone in a life- forgotten – sleeping – until Anger in 1955 ter-culture. guard tower on the beach, dosed on LSD, re-found the villa and obtained permission summoning the forces of the “irrational,” to remove the whitewash, which had “turned trying to break through to the other side. to stone.” Anger spent three months working on the walls and foors, gradually revealing On March 1, 1920, Aleister Crowley and a With a curriculum of ordeals like nights “all those hyper-psychedelic murals” in “The group of devotees, arrived at Cefalù, Sicily, spent in “The Room of Nightmares,” daily Room of Nightmares” and on doors and and moved into a small house at the outskirts evocations in the Temple, and solitary and shutters, planning a photo shoot on location, of town. The house, formerly called Villa exhausting “magical” retreats on the nearby in which the costume of the sorcerer in the Santa Barbara, was renamed The Abbey of cliff, coupled with the Spartan living condi- dreamy flm Children of Paradise (1945) – a Thelema, inspired by the French writer Rab- tions, it is perhaps evident why the Abbey blue velvet robe emblazoned with the word elais, who in the concluding chapters of his of Thelema never attracted more than a “ABRA” – would appear. Whether the shoot book Gargantua (1534), describes an ideal small group of visitors and benefactors. So actually happened is unclear. Anger’s docu- community named “Thélème,” which had much for free love, and “Do what you will.” mentary, made during his stay, was lost by the governing maxim “Do what you will.” Crowley was decidedly more lenient with Hulton Television. What still circulates is a Though hedonistic, centered around Crow- his own sexual excesses than with others series of photographs of the restored Abbey. ley’s own version of magic – Kabbalah and and there was a catch to the word “will.” It One of them depicts Anger in conversation yoga, with a particular emphasis on tantric also didn’t help the cause of Thelema that with the sexologist Alfred C. Kinsey. On practices, hetero- and homosexual rituals, a number of visitors left with a heroin habit the back wall is Crowley’s portrait and on a and the use of drugs to heighten intensity as an unwanted souvenir. But in the end it door, one of the newly uncovered paintings, – life in the Abbey was often described as was not the liberal use of drugs, the inher- a mountainous landscape made in a fantasy- bleak. The house had neither gas nor elec- ent contradictions in the teachings, or local like style. Anger had met Kinsey when the

janmot_programme_2.indd 4 25-10-2006 12:55:02 PROGRAMME 5

AS I WALKED THROUGH THE AREA, WHICH ONCE WAS “THE SOUTHEASTERN OUTSKIRTS” OF CEFALÙ, I STARTED TO DOUBT WHETHER THE HOUSE STILL EXISTED

Joachim Koester, The Room of Nightmares. C-print, 48 x 61 cm, 2005

doctor approached him to purchase a print of more information about Crowley’s sex mag- ing village Anger and Kinsey experienced in his frst flm Fireworks. While Anger was an ic practices. More than likely it was Kinsey the ffties. Situated one hour from Palermo, ardent follower of Crowley’s magic, Kinsey who funded Anger’s stay in Cefalù. it’s better described as a booming beachside thought that Crowley was “the most promi- town, or as a guidebook states: “the premier nent fraud that ever lived.” Kinsey neverthe- destination on the Tyrrhenian coast.” The less saw Crowley as a brilliant homoerotic change in size and appearance of the town, writer, and was interested in discovering Today Cefalù is not the small Sicilian fsh- and the vague directions I had managed to

janmot_programme_2.indd 5 25-10-2006 12:55:04 6 PROGRAMME

AS I WALKED THE FAINTLY VISIBLE PATH TO WHAT WAS ONCE THE MAIN ENTRANCE, I WAS SO OVERWHELMED BY THE SCENE’S DORMANT QUALITIES THAT I HAD TO PAUSE.

obtain from an older book, made fnding the this particular history, since what Smithson’s fore, standing in the parking lot of the sta- Abbey a challenge. As I walked through the ruin symbolized was viewed as an embar- dium, scanning the sloping hillside without area, which once was “the southeastern out- rassment. Eventually, the university planted noticing the house right next to me, hidden skirts” of Cefalù, I started to doubt whether a circle of trees around the Woodshed so it behind a wall of greenery and palm trees. the house still existed. This area did not couldn’t be seen from the road. And so, the The house and garden of the Abbey were share the characteristics of a place that might monument dissolved and came to an end, completely overgrown in a strangely evoca- accommodate “leftover” or “ambiguous” discretely hidden by a veil of trees. tive way. As I walked the faintly visible path spaces. Instead of vacant lots I found my to what was once the main entrance, I was so way blocked by the barrier of a gated com- overwhelmed by the scene’s dormant quali- munity, or newly built condos with BMWs ties that I had to pause. It seemed to me as if and Porsches crowding the parking lots. It Thinking about this I climbed through the sediments, pieces of leftover narratives and was only after hours of walking in circles, only window that was not boarded up, and ideas from the individuals that once passed almost by chance and out of the corner of made my way into “The Room of Night- through this place had formed knots, as my eye, that I caught a glimpse of a caved-in mares.” The room bore traces of vivid green tangled as the bushes and trees that where roof near the stadium. I realized I had been paint and I recognized a few of the frescos now taking over, creating a kind of sleeping within meters of the house several times be- from Anger’s photographs, though in a presence. obtain from an older book, made fore, standing in the parking lot of the sta- much worse state. Its walls were scrawled fnding the Abbey a challenge. As I walked dium, scanning the sloping hillside without with graffti and the rest of the house a mess through the area, which once was “the noticing the house right next to me, hidden of tiles, dust and discarded furniture – it felt southeastern outskirts” of Cefalù, I started to behind a wall of greenery and palm trees. like being in a hollow place. As I climbed doubt whether the house still existed. This out, and stood in the garden again, I sudden- area did not share the characteristics of a The house and garden of the Abbey were ly noticed how close the newly built houses place that might accommodate “leftover” or completely overgrown in a strangely evoca- were – just on the other side of the bushes. “ambiguous” spaces. Instead of vacant lots tive way. As I walked the faintly visible path I found my way blocked by the barrier of to what was once the main entrance, I was so a gated community, or newly built condos overwhelmed by the scene’s dormant quali- Joachim Koester, Palais de Tokyo, Paris, with BMWs and Porsches crowding the ties that I had to pause. It seemed to me as if 7/12–14/1 parking lots. It was only after hours of walk- sediments, pieces of leftover narratives and The 16mm flm Morning of the Magicians ing in circles, almost by chance and out of ideas from the individuals that once passed (9 min.), 2006 will also be presented in the the corner of my eye, that I caught a glimpse through this place had formed knots, as gallery as part of Programme (2006-2007). of a caved-in roof near the stadium. I real- tangled as the bushes and trees that where See www.janmot.com for screening hours. ized I had been within meters of the house now taking over, creating a kind of sleeping several times before, standing in the park- presence. ing lot of the stadium, scanning the sloping obtain from an older book, made fnding the hillside without noticing the house right I continued my exploration wondering if the Abbey a challenge. As I walked through the next to me, hidden behind a wall of green- Abbey could be seen as a sort of monument, area, which once was “the southeastern out- ery and palm trees. The house and garden when the gaping hole in the roof reminded skirts” of Cefalù, I started to doubt whether of the Abbey were completely overgrown me of Robert Smithson’s site specifc the house still existed. This area did not in a strangely evocative way. As I walked sculpture Partially Buried Woodshed. Even share the characteristics of a place that might the faintly visible path to what was once though Smithson, in this and other pieces, accommodate “leftover” or “ambiguous” the main entrance, I was so overwhelmed intentionally worked with a narrow but very spaces. Instead of vacant lots I found my by the scene’s dormant qualities that I had deep historical space, the Partially Buried way blocked by the barrier of a gated com- to pause. It seemed to me as if sediments, Woodshed was transformed into a political munity, or newly built condos with BMWs pieces of leftover narratives and ideas from landmark by someone adding the graffti and Porsches crowding the parking lots. It the individuals that once passed through “May 4 Kent 70,” to commemorate the four was only after hours of walking in circles, this place had formed knots, as tangled as students killed by Ohio National Guards- almost by chance and out of the corner of the bushes and trees that where now taking men during an anti-war protest. The later my eye, that I caught a glimpse of a caved-in over, creating a kind of sleeping presence. attempts by Kent University to get rid of the roof near the stadium. I realized I had been main entrance, I was so overwhelmed by the Woodshed were in reality efforts to obscure within meters of the house several times be- scene’s dormant qualities that I had to pause.

janmot_programme_2.indd 6 25-10-2006 12:55:05 PROGRAMME 7

A SHORT INTERVIEW WITH GEORGE VAN DAM

BRUSSELS, 23 OCT. – In October, at play in a more intimate way to the camera nowadays – one takes the best parts of the the Frieze art fair in London, Manon and microphones in close proximity, as op- different takes and edits them together in a de Boer’s new short flm Presto. Perfect posed to projecting into a hall seating around way that the cuts are inaudible. The image Sound was shown for the frst time. The 800 in this particular case. We were really from the different takes that I used in the flm is a portrait of George van Dam, the very happy with the fine acoustics in Studio sound-edit was subsequently very precisely composer/violinist with whom De Boer 4 at Flagey. The sound was recorded with six again linked together to the sound. The result collaborated for the soundtrack of Sylvia different microphones, two of which were is that one can see the editing that happened Kristel-Paris (2003) and Resonating Sur- in the middle towards the back of the hall in the sound montage, but one does not hear faces (2005). It will be shown as part of on both sides. We then recreated the space it. When watching the film, one really sees Programme (2006-2007). For the gallery’s acoustically for a cinema situation by mixing what one hears, and yet the sound is continu- newspaper the following short interview the sound for a 5.1 surround system. ous and perfectly smooth whereas the image with Van Dam was made. (also) jumps at the edit points in the audio JM The concept of this work creates a para- part. The image relates to the different takes Jan Mot I would like to start by asking you doxical feeling of continuity and discontinu- in a perceivable way, and thus creates a kind about the piece of music you are playing in ity. Can you tell something about how this is of almost independent tension in the time- the flm, called Presto, the fourth movement expressed in the film? space, although it being intrinsically linked to from Sonata for Violin Solo Sz. 117 by Belà the source of sound. Bartòk (1944), version with micro-intervals. GvD In the film, the image and sound is al- I suppose it’s a work you like for different ways synchronized because it was recorded reasons. Can you tell me what makes this and filmed at the same time. During the film- music so interesting or attractive to you? And ing we did six takes in total. In the montage is there a specifc reason why you chose this process, Manon proposed to me to edit the piece in relation to the fact of it being flmed? sound in the most perfect way as it is done Did you expect this work to have any ‘scenic’ or ‘flmic’ qualities?

George van Dam The Presto movement was really perfect for the format of the film, being five minutes in length. The music is very fast, so there is much happening. The structure of the music (four bigger sections), creates a tension line, quite similar to a plot, although it remains abstract. We found this sequence of different moods or temperatures to be very rich in a narrative sense and particularly suit- ed for a filmed performance. In this way the film is also very much about the music.

JM One interesting thing about the way one perceives the violinist, is that the listener/ viewer is so close to the instrument and to the violinist, which obviously cannot be the case in a concert situation.

GvD Yes, one really gets the same primary information in sound as the violinist; it is quite remarkable how the sound changes from just above the violin until, let’s say, the back wall of the hall. The nice thing about a filmed performance is also the way one can Manon de Boer, Presto. Perfect Sound, 35 mm , 5 min., 2006 (flm still)

janmot_programme_2.indd 7 25-10-2006 12:55:06 8 PROGRAMME

Agenda Publications

Sven Augustijnen Mario Garcia Torres Honoré ∂’O Eclipses du Réel, Fri-Art, Centre d’Art Neo-Con, Contemporary Returns to Con- The Quest, Variations on a Theme, Contemporain, Fribourg, 4/11 – 24/12 ceptual Art, The British School at Rome, 320p, color, with dvd ‘OSMOSE’, (cat.); Mardi de l’Art, Sven Augustijnen Rome, 8/10 – 8/11; Mario Garcia Torres, ISBN-10:90-811078-1-X entre fction et documentaire, Université de Galeria de Arte Mexicano, Mexico City, (available from December 2006) Luxembourg, 5/1 14/12 – 30/01 (solo) Dominique Gonzalez-Foerster Pierre Bismuth Dominique Gonzalez-Foerster Tropicalisation Pierre Bismuth, Villa Arson, Nice, 21/10 How to Live Together, 27th São Paulo JRP/Ringier-de Singel, Antwerpen – 7/1 (solo) Biennial, 7/10 – 17/12 (cat.); Curating the Library, de Singel, Antwerpen, 9/11 Joachim Koester Manon de Boer Anders Kreuger, Joachim Koester, Mes- White Cube Opera House, Umeå, Sweden, Douglas Gordon sages from the unseen Oct.–Nov.; Festival for contemporary Self Portraits of You + Me (Bond Girls), Veenman Publishers, 2006 music in Europe, Wien Modern, Vienna, Gagosian Gallery, London, 9/10 – 18/11 Nov.; Bordelaise, Centre Jean Vigo, Bor- (solo) deaux, 9/11 – 16/11 (screening Resonating Opening sponsored by Surfaces: 13/11); Festival Filmer à tout Joachim Koester Vedett / Duvel Moortgat NV SA prix, Bruxelles, 13/11 – 19/11 (screening Fiction, La Box_Bourges, Bourges, 23/10 Restaurant Vismet Resonating Surfaces: 16/11) – 25/11; Morning of the Magicians, Palais de Tokyo, Paris, 07/12 – 14/01 (solo); Colophon Rineke Dijkstra Dreamlands burn, Kunsthalle Budapest, Publisher Jan Mot, Brussels Out of Time: Contemporary Art from the Budapest, 07/12 – 28/02 Design Maureen Mooren & Daniel van der Collection, The Museum of Modern Art, Velden, Amsterdam New York, 30/8 – 9/4; Faster! Bigger! Bet- David Lamelas Printing Cultura, Wetteren ter!, Museum of Contemporary Art, Karl- MALBA/Museo de Arte Latinoamericano sruhe, 24/9 – 7/1 (cat.); Il faut rendre à Cé- de Buenos Aires – Colección Costantini, zanne ce qui appartient à Cézanne, Galerie Buenos Aires, 29/9-20/11 (solo); (advertisement) d’Art du Conseil Général des Bouches- du-Rhone, Aix-en-Provence, 6/10 – 31/12; Sharon Lockhart Wanderland, Israel-Palestine, Museum Sharon Lockhart: Pine Flat, Arthur M. Haus Lange, Krefeld, 29/10 – 11/02 (cat.) ; Sackler Museum, Harvard University, The Cowles Collection, Miami Museum of Cambridge, 26/8-19/11 (solo); Sharon Art, Miami, 17/11 – 15/4 (cat.); Touch My Lockhart: Pine Flat, Museo do Chiado, Shadows. New media works from the Goetz Lisbon, 3/10-7/1 (solo) Collection, The Centre for Contemporary Art, Ujazdowski Castle , Warsaw, 25/11 Deimantas Narkevicius – Feb. 2007; Eine Frage (nach) der Geste, Histoire(s), Le Grand Café Centre d’Art Oper Leipzig, 3/12 – 10/12; Contemporain, Saint-Nazaire, 12/11 JAN MOT – 07/01; Prospectif Cinéma. Film screening Honoré ∂’O and discussion, Centre Pompidou, Paris, The tears of the fsh are falling in the water, 30/11 Rue Antoine Dansaertstraat 190 Galerie Aline Vidal, Paris, till 25/11 (with B-1000 Brussel Bruxelles Kwinten Lavigne) Tino Sehgal tel: +32 2 514 10 10 Tino Sehgal, Stedelijk Museum, fax: +32 2 514 14 46 Dora Garcia Amsterdam, 20/10 – 10/12 (solo) offi[email protected] Cellule Cité Lénin. Rooms, Conversa- www.janmot.com tions, Laboratoires d’Aubervilliers – Art Other artists represented by the gallery: Grandeur Nature 06. Mutations Urbaines, Ian Wilson donderdag-vrijdag-zaterdag 14–18.30h Aubervilliers, Paris, 16/9-19/11 (solo/cat.); jeudi-vendredi–samedi 14–18.30h Habitaciones, Conversaciones, Galeria Jua- en op afspraak / et sur rendez-vous na de Aizpuru, Madrid, 20/10-20/11 (solo); I continued my exploration wondering if the Cyberfem, EACC, Castelló, 20/10 – 20/12 Abbey could be seen as a sort of monument, (cat.); Being, in Brussels, Argos, Brussels, when the gaping hole in the roof reminded 25/11 – 20/01 (cat.); Multiples y Colectivos, me of Robert Smithson’s site specifc sculp- Museu de l’Empordá, Barcelona, 25/11 ture Partially Buried Woodshed. Even though – 15/12 (cat.); Rooms, Conversations, Smithson, in this and other pieces, intention- Argos, Brussels, 22/12 ally worked with a narrow but very deep his- torical space, the Partially Buried Woodshed

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