Throughout July and August, Ommery De Zutter inhabited KIOSK as artist in residence. While KIOSK remained closed to the public during the summer, Ommery De Zutter, used the anatomical theater as a map for creating an immersive VR experience. 

Ommery De Zutter’s exhibition de Wereldgeest, resulting from this residency, opens on 12 September and will be on view until 4 October.

What happens when creationbecomes materially endless?

When skills as a means of creation begin to play a secondary role? 

How would expression unfold then?

In what way would it be different? 

Is it valid?

Does it remain valid when it continues to be about itself?

Or does creation then become too entangled in itself?

And if that is the case, why shouldn’t it simply be allowed to

When does creation become useful to the Other?

Isn’t creation emerging from creation itself precisely creation?

Does it make sense to investigate the same idea from emptiness when someone has already taken it up from an established position?

Can we accept it when creation is no longer intended for us? 

Where does the balance with the Other lie during creation? 

Is the imbalance of time and energy with the Other not precisely what is necessary for creation?

Are we also the Other? Are we without the Other?

Does thinking about creation and the Other disrupt the existing balance?

Isn’t it simply obvious that the next forms of creation will move beyond our own abstraction, emerging from semantic-geometric constructions that surpass our own understanding and give rise to new realities?

Drawing from seemingly endlessly proliferating word sequences—which arise from a single word through a simple rule and through association—Veva Leye creates montages that present the same words in completely different ways. Uncannily coagulating, these word images expand and contract in an accordion-like movement. A similar rhythm characterizes Jelle Martens’ (photo)graphic registrations that combine fragments, reproductions and trivial observations into layered prints and drawings. Every print layer, every drawing operates as a temporary frame bringing together images that only temporarily solidify, overlap, and fall apart again. Image and language tumble along, stumble upon. Letters form words form images reading looking.

‘Sometimes I can’t help but wonder’

Actually, all I had in mind was a small house.

I remember this because the room was too big when I dreamt about it.

What I woke up to this morning were all the holes, small and big ones, all around my bed.

As a matter of fact, my room is acting as if it were a big black hole because everything is being moved into the other house. And Wednesday is only the beginning.

By the other house, I mean the house I refer to as my house. Before my house was built, my room still had all my belongings.

Then again, it was in fact my own choice. Well, I can hardly say goodbye.

Sometimes I can’t help but wonder how I can make things complicated.

One morning, not too long ago, all I could think about were my teeth. By that I mean my dead teeth in that small little thing in my room. The ones who came, saw and conquered my wisdom.

And after that all that was left were four holes.

There will always be Goodbyes And Beginnings.

By the way, Wednesday 16th is only the beginning.

By that I mean that Sunday 27th is the end.

So naturally every day in between will in fact be different.

Emma Terlinck

Emma Terlinck completed a Master’s degree in photography and subsequently began the printmaking programme at KASK & Conservatorium. The everyday and the mundane form the starting point for her work, often taking the form of an endless stream of images on her mobile phone. From this emerges new graphic work in which play, intuition and a process-oriented approach take centre stage. In this way, figures are reduced to formal cut-outs, and objects to an interplay of lines. The individual works come together to form a whole, whereby the whole becomes greater than the sum of its parts.

Beste Jack,

We kennen elkaar niet. Dit is een uitnodiging. Een instructieboekje. Zo een die je tegenkomt bij je nieuwe aangekochte monopolydoos. Iets wat je niet opent omdat je allang de spelregels, of je eigen versie kent. Beste Jack, ik vraag: wil jij met mij dit spel spelen?

Het spel van het onwetende, van vrijheid en van ontdekking.

Ik speel niet graag alleen. Lees jij de instructies?

Dus Jack, wat is spel voor jou? Speel jij wel volgens de spelregels? Of ga je mee met mij de spelregels overtreden. Dan kunnen we op het einde samen onze onverdiende overwinning vieren. Je moet wel weten, wie graag de regels breekt, botst natuurlijk wel op muren, want valspelers worden uiteindelijk altijd uitgesloten.

Groetjes

Beau Travail, a sensory meditation on power, oppression and lust, is Claire Denis’ transformation of the novel Billy Budd (1924) . When Galoup, an officer in the French Foreign Legion in Djibouti, falls under the spell of the charismatic Sentain, military order begins to crumble slowly. Amidst colonial remnants and vast desert landscapes, a rhythmic and sensual choreography unfolds.

With her camera, Denis gets unnervingly close to her characters’ often bare skin, exploring how every glance and movement is charged with desire, jealousy and rivalry. More than twenty-five years on, Beau Travail remains one of the most fascinating and inimitable films of her generation.

This screening will be introduced by film scholar Alexander De Man.