For some time now Nathalie Hunter has been exploring ceramics as a medium. But she also remains a fantastic draughtswoman. In a recent series of drawings for the ceramics center Markt 1 in Rumst, Belgium she combines her love for drawing and ceramics. Find her project and Nathalie’s comments on it below: The Markt 1 Ceramic Art Center was created out of a willingness to bring people together. The founders had raised a crazy amount of money in Dec 2018 to help people with ALS disease. This brought such a such strong… Read More
It’s Sunday’s END again and today we revisit the BOLERO-project when in 2015 it was shown in Ankara in the art space Torun and Baskent University. On that occsion no less than 11 artists joined the project: Ece Akay, Onur Kutluoğlu, Seval Sener, Umut Şumnu, Mert Acar, Erin İlkcan Aslan, Mert Batırbaygil, İpek Cınar and Gözde Çökl from Turkey as well as the Dutch artists Jerome and Roeki Symons. Find their contributions here.
Today Sunday’s END brings the BOLERO-project back to its country of origin and the city of Genk. In 2012 it was part of the parallel projects of Manifesta 9 and was shown in the TVL café/library. For that occasion five more artists joined: Mulugeta Gebrikan, Gudny Rosa Ingimarsdottir, Maryam Najd, Aimé Ntakiyika and Jakub Rehak. You can find their contributions here.
For this Sunday’s issue of Empirical Nonsense Daily, the BOLERO project returns to Europe when it was shown in Galerie Voss in Dortmund. For that occassion the artists Horst LINN, Jobst TILMANN and Elly VALK-VERHEIJEN joined. See their contributions here.
Today’s issue of Empirical Nonsense Daily (END) reports about BOLERO’s visit to Bangalore in 2011. There it was shown at 1 Shantiroad studio/gallery while artists Siddharta DAS & Catherine MACLEAN, Sofie HAESAERTS, Suresh JAYARAM, Ravi SHAH, Uday SHANBAG and Chinnan VINOD. Uday SHANBAG and Sofie HAESAERTS curated the project on this occassion. Find their contributions here.
Like every Sunday until the end of July 2021, today’s issue of the Empirical Nonsense Daily (END) is dedicated to the newspaper art project BOLERO. We revisit the first international exhibition that took place in 2010 at the Laphto Complex of the Old Airport in Addid Abeba, Ethiopia. The curator of this exhibition was Leo Kosm (Lefort) and the participating, Ethiopian artists were Behailu Bezabih, Bekele Mekonnen, Eshetu Tiruneh, Bisrat Shibabaw and Nuru Abegaz. The invitation consisted of the cover of De Standaard that was also used for the so-called 0-edition… Read More
In today’s edition of the Empirical Nonsense Daily (END) we’re excited to present the latest work by Alexandra Dementieva, A capella singing (we are never alone). Dementieva is mainly interested in social psychology and perception and their application in multimedia interactive installations. During lockdown she saw herself confronted with lots of time and isolation which led her to develop this tongue-in-cheek series of four short videos. In these she creates several doppelgangers to explore the possibilities of creating rhythm, maybe a melody and train her memory. In addition Dementieva also created the… Read More
It’s my immense pleasure to announce that I’ve been asked to be the curator of the 10th-anniversary edition of the nomadic project Bolero, an international art project on the move. Named after Ravel’s musical composition for its accelerating movement (here in my favourite version by Frank Zappa), the project was initiated in 2010 by the artists Frank JMA Castelyns, Willo Gonnissen, Pierre Mertens and Mulugeta Tafesse as an answer to an ever more global art world. The principles have always been very simple, travelling light in a suitcase with relatively little means…. Read More
In November 1990, almost at the beginning of his career, Jean De Groote exhibited at Parbleu his project “Chair in Time II – No Observer – No Object”. The first part had been shown in the Triennial for Contemporary Art ‘Van Stof tot Asse’, organised by Jan De Smedt. Just as in the first part a chair played a central part, but it could have been any other object. It was a way to explore spatiality and representation. As I wrote at the time: Observation keeps fascinating De Groote. Observation is not… Read More
My adventure as a curator began when I decided in 1987 to move to Antwerp while finishing my studies in art history in Leiden. I found a fairly derelict downstairs 19th century apartment in the Het Zuid-area, then very much upcoming with the recent opening of the Muhka (Museum of Contemporary Arts). The best galleries like Micheline Szwajcer and Zeno X were around the corner. With my bursary and later part-time job in the pizzeria across the street I could make ends just about meet. Once a week I would go to… Read More