#26: More artists, less borders.|#39: Be the early stepping stone in an artist’s career|#32: Be pan-gender polyphonic.|#47: Artists need to be supported more than ever in the development of their practice due to the gaps that have been created in the field of fine art|#59: Always protect the floor when painting (or pouring concrete)|#2: Bring something new to the city of Ghent.|#127: Remain practical: what happens to the work in an endless exhibition?|#141: Start a Publication Studio at Kunsthal Gent in the nearby future.|#60: Look after all tools. The moment it looks like things are missing it means that things are missing.|#120: The new type of art institute cannot merely be an art museum as it has been until now, but no museum at all. The new type will be more like a power station, a producer of new energy.|#117: Consider design, organisational structures and architecture as programme.|#82: Clean and sterile looks professional, but really boring.|#51: How do we invite the true unknown?|#79: The layered painting in the Old House has the potential to become the emblem to explain what Kunsthal Gent is doing.|#21: Live with the exhibition, spend time with it.|#112: Spaces today don’t need to be curated, but occupied.|#30: Don’t work with artists who are assholes.|#23: That’s a very interesting piece, but how would it behave in a pizza joint?|#84: The White Cube is a lie.|#111: Do it together.|#89: Build-in impurity within the organisation.|#64: Arrange a distribution of forces.|#130: Be a uniquely charged and curated gallery that is an artwork in itself.|#29: We make the program for the artist that we exhibit.|#57: Volunteers must be: cared for / hands on / ready to learn / willing to share / in it to win it / show new or old tricks.|#26: More artists, less borders.|#39: Be the early stepping stone in an artist’s career|#32: Be pan-gender polyphonic.|#47: Artists need to be supported more than ever in the development of their practice due to the gaps that have been created in the field of fine art|#59: Always protect the floor when painting (or pouring concrete)|#2: Bring something new to the city of Ghent.|#127: Remain practical: what happens to the work in an endless exhibition?|#141: Start a Publication Studio at Kunsthal Gent in the nearby future.|#60: Look after all tools. The moment it looks like things are missing it means that things are missing.|#120: The new type of art institute cannot merely be an art museum as it has been until now, but no museum at all. The new type will be more like a power station, a producer of new energy.|#117: Consider design, organisational structures and architecture as programme.|#82: Clean and sterile looks professional, but really boring.|#51: How do we invite the true unknown?|#79: The layered painting in the Old House has the potential to become the emblem to explain what Kunsthal Gent is doing.|#21: Live with the exhibition, spend time with it.|#112: Spaces today don’t need to be curated, but occupied.|#30: Don’t work with artists who are assholes.|#23: That’s a very interesting piece, but how would it behave in a pizza joint?|#84: The White Cube is a lie.|#111: Do it together.|#89: Build-in impurity within the organisation.|#64: Arrange a distribution of forces.|#130: Be a uniquely charged and curated gallery that is an artwork in itself.|#29: We make the program for the artist that we exhibit.|#57: Volunteers must be: cared for / hands on / ready to learn / willing to share / in it to win it / show new or old tricks.|
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07.02.2020 20:00

book launch

Pay what you can

Posture Editions presents:
Nikolaas Demoen — Labyrinth

Posture Editions presents:
Nikolaas Demoen — Labyrinth book launch
07/02/20 — 8pm

Labyrinth takes us on a walk through the spaces constructed within the pages of the book and visualises a world in which the exit can’t be found. With the morphology of the house (windows, doors, steps and curtains) and the theatre (curtains, stage, perspective), a world is evoked in which nothing can serve as a point of reference. The experience is similar to surfing on the internet, scrolling through instagram, unfolding the gallery map of Art Brussels or shopping in a French supermarket.
All images in the book are woodcuts. Christophe Van Gerrewey has written a text that actually creates an imbroglio. The entire book is printed in letterpress.

The launch of Labyrinth coincides with the presentation of 'Papers, Books and Bolero'*, a new film by Nikolaas Demoen.



*The film 'Papers, Books and Bolero' is a dialogue between French philosophers, fictionalized in cardboard, and found images in books and miscellaneous documents; it suggests in fact a possible relation between the different images. The film features on the one hand works belonging to the history of art (Tiepolo, Palladio,...) and on the other hand images from glossy magazines (Purple Fashion, Vogue). Both very different sources are linked through sculptural artefacts made from cardboard and clay.
On the rhythm of Maurice Ravel’s Bolero, one by one the papers and books appear, gradually intoxicating the audience’s senses.

Papers, Books and Bolero, 2020, 16 x 9, 7:02 min.
in collaboration with Christophe Albertijn
Music: Maurice Ravel, Bolero, conducted by Lorin Maazel

Nikolaas Demoen is a visual artist and publisher, based in Ghent, Belgium. In his work he explores the relationship between modern culture and the tradition of beauty in the arts, and how the individual human being is constantly crossing these artificial borders.

NIKOLAAS

IMAGES
Postkaart labyrinth