The Painted Bird / Marres, Maastricht / NL versie https://soundcloud.com/kim-david-bots/the-painted-bird-nl Art Walks Tilburg 1: https://www.vvvtilburg.nl/artwalks/ Art Walks Tilburg 2: https://soundcloud.com/user-774624334/sets/art-walks-tilburg-spoorzone Der Raufbold Tour / Marres, Maastricht https://www.frankkoolen.com/project/der-raufbold-tour/ https://marres.org/programmas/wandeling-raufbold-tour/ Sound:...
For the publication AFTERSEASON by Aliki van der Kruijs Colour is never fixed Colour is always in transition to a next shade. Sometimes due to sunlight or wear but also instantly when somebody suddenly turns of the light. Colour is never fixed forever. Colour is also very personal and has to do with perspective. Conscious or subconscious (cultural) colour preferences influence and shape our perception from early age. Colour changes from sunrise to sunset to sunrise again. Rain, shade, reflection and even wind change what colours we see while physical related elements like happiness, panic, migraine, drugs, waking after having slept for a while, looking away from a digital screen after working or leaving a specifically coloured room all change our perception slow or fast. Then there are stories related to colour that for some reason seem to have a natural interest and relevance to us. Everybody knows facts on colour, and I have never met somebody not liking them, even if they are possibly false. A small selection of colour facts people told me over the last year connected to the colour purple: In New Guinea the term Koh is used for an element that creates big contrast to its background. A bright green parrot can be Koh when flying through the sky but when surrounded by the forest it will not be named Koh anymore but the local term for parrot. A shiny purple coloured inside of a shell can be Koh when hit by sunlight and is called a shell when in the shade. A teacher from my primary school always wore purple. All the children...
Text as a retrospective on the solo-exhibition ‘Pilot’ of Ricardo van Eyck at P/////AKT, Amsterdam, 2019 Keep moving A random scroll through Ricardo van Eyk’s Instagram account (@ricardovaneyk). OK, let’s go: There are stickers on objects, stickers on other stickers, a derelict half-demolished concrete street ping-pong table, a folded-out cardboard box used as temporary furnishing for a garden bench, a gate in front of a gate, a recently painted gate behind which an afterimage of dry bits of paint can be seen on the underlying information board, shabby graffiti, a recycling print on a white skip bag, unintentionally decorative public works on a wall, a Mercedes sign that rhymes with two ventilators, posters on graffiti, graffiti on a poster, mirrors with warped reflections, an intentionally illegible tag, an exotic yet almost entirely illegible print on a fly curtain, a chair repaired with another chair, a welcome mat draped over a pole, a poster blurred by the sun, a disused decorative dolphin used for storing cleaning equipment, paper on a drain that reveals an imprint of that drain, a forgotten glove on the point of a gate, birthday decorations on graffiti, a broken JCDecaux billboard encased with red and white barricade tape indicating that it is out-of-order, a poster of a lonely mouth above a random door, floor racks folded into pyramids, a seemingly disproportionate abundance of stacked shelves in various colours, a large piece of cardboard on the floor forming an abstract drawing, more mirrors, more chairs, symmetrical trails in the snow as evidence of engine activity, decrepit neon letters, stickers on a protective case in front of an...
Mickey Yang & Katrein Breukers – Amazigh – De Fabriek Eindhoven – 20/12/19 tot 05/01/20 Vijf perspectieven Door Frank Koolen Verwachtingen, misinterpretatie, verwarring. De wificode ‘Amazigh88888888’ in een hostel in Marokko die een verkeerde spelling leek van het woord ‘Amazing’ maar die bleek te verwijzen naar de naam voor de oorspronkelijke bewoners van Marokko, de Berbers of Amazigh als startpunt voor een gezamenlijke werkperiode bol van associaties en ontdekking. Vijf figuranten zijn gevraagd vanuit hun perspectief op deze bijzondere samenwerking te reflecteren. Tentoonstellingsruimte:Ik ben een tentoonstellingsruimte en ik was ooit de fabriekshal van een boekbinderij, maar ik kan heus wel overweg met computers. Ook ik moet met mijn tijd mee, voor je het weet voldoe je niet meer aan de norm en word je gesloopt om plaats te maken voor iets multifunctioneels en duurzaams. Iets multifunctioneels en duurzaams dat na 20 jaar weer gesloopt wordt voor iets nog moderners, nog multifunctionelers nog duurzamers. Dat gaat mij niet gebeuren. Ik ben van plan te blijven. Zonder mij bestond deze plek niet. Om dat te onderstrepen heeft men me gevraagd iets over de samenwerking tussen Mickey Yang en Katrein Breukers te vertellen. Dat doe ik graag. Laat ik met het einde beginnen. Met de laatste zin van de tekst over de samenwerking tussen Mickey Yang en Katrein Breukers op de website van De Fabriek: ‘We verwachten dat de samenwerking een dynamische vormentaal oplevert’, Als je dat in Google translate naar het Arabisch vertaald, lees je: نتوقع أن يقدم التعاون لغة رسمية ديناميكية Als je dat vervolgens weer terugvertaald naar het Nederlands staat er opeens: ‘We verwachten dat samenwerking een dynamische, officiële taal...
This crown is for ever It was after noon when we reached the shore of the most distant island of the Northern Archipelago. It had been a hostile journey but through hard and collaborative work we were able to keep our ramshackle raft afloat. Unfortunately we had lost two of the brave men from the Daveen Rada Tribe. A sudden thrust of a gigantic wave flung the wooden cabinet they had tied themselves to overboard like it was a Silverman’s matchbox. The men disappeared into the foaming black sea giving them no chance to save themselves. In despair we clung to our ropes endlessly praying for rescue or a quick death when we noticed the sea calming down. The wind quieted, the air got warmer and the water smoothed. We were still alive but soaked, sad, and sick to our bones but when the bright orange sun rose, fortune started smiling upon us. Most of the wooden boxes with samples, tools and supplies were miraculously unharmed, the bronze bird was still tied to the spar and best of all: there was a glimpse of land on the horizon. Apart from Dr. Noland and me, we were now left with only three helpers of which one, a slender female named Ha’dake, was unfit to carry any load. Although being offered to us as a guide she had not yet said a word. She even had cried soundlessly while the demon waves crashed our raft and death seemed nearer than ever. There, on that strange and silent grey beach, at the foot of this jungle-covered mountain she suddenly opened her mouth...
