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Festival van de Controle

In the group show Festival of Control, (CCHA, 24.03.2019 - 16.06/2019) our urge for control is being questioned. Even the one who reads this is guilty of a form of controlling tendency. Inconspicuously sick. Or sickly inconspicuous. How do we create a mechanism to get as much control as possible? How do we manipulate our environment? How do we keep friends or colleagues, children, parents or even enemies within the framework that we devise for them? Or how do we do that with our living environment, our house, our city, nature? And how do artists position themselves - or how are they positioned - in relation to control?

The project Festival of the Controlconsists of 3 exhibitions, 6 stage performances, 1 creation / co-production, a talk show, an artist talk (Arts Night) and a FINISSAGE, out of control?

The group show Festival of Control was set up according to a concept by Sarah Van Marcke and is curated by Sarah Van Marcke and Thierry Vandenbussche.

Francis Alÿs (BE/MEX), Mémé Bartels (NL), Ruben Bellinkx (BE), Roelien Brink (ZAF), Stefan Brüggemann (MEX), Guy Cassiers (BE), Constant Dullaart (NL), Fischli & Weiss (CH), Kendell Geers (ZAF/BE), Maarten Inghels (BE), Matthew Leifheit & Cynthia Talmadge (US), Ariane Loze (BE), Taus Makhacheva (RUS), Simon Menner (DE), Zach Nader (US), The Office for Joint Administrative Intelligence (OJAI) - Chris Dreier (DE) & Gary Farrelly (IRL/BE), Amalia Pica (ARG/UK), Annaïk Lou Pitteloud (CH/BE), Corinna Schnitt (DE), Dries Segers( BE) Roman Signer (CH), Lisa van Casand (NL), Ben Van den Berghe (BE) & Alexey Shlyk (RUS/BE), Chaim van Luit (NL), Sarah Van Marcke (BE), Sine Van Menxel (BE), Rob Wetzer (NL)

Exhibitionviews

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Sarah Van Marcke, ‘Bark control’, installation (carpet, mdf, a barkcontrol-device, an electronic dog-device), 2mx4m

Chaim van Luit, ‘Circumbscribe’, 2018, neons, cable, transformer, 265 x 250 cm, Courtesy of the artist and gallery Meesen De Clercq

Kendell Geers, ‘T.W. Batons (Pentagram)’, 1994, 10 Police batons, 152 × 160 cm, Courtesy of the artist

Peter Fischli and David Weiss, ‘Der Lauf Der Dinge’, 1987, single-channel video, color, with sound, 31 min, Courtesy of the artists

Ben Van den Berghe, Alexey Shlyk, ‘Private Eden’, 2019, Multi-media installation (textile wallpaper, paint, framed photograph, UV-print on dibond), 19,5m x 3,2m, Courtesy of the artists

Stefan Brüggemann, ‘This work is realized when I die’, 2013, Vinyl, 3,8x13m, black vinyl letters, Courtesy of the artist and gallery Hauser Wirth

Taus Makhacheva, ‘Tightrope’, 2015, video color and sound, (1u11.), Courtesy of the artist and collectie M HKA/Collectie Vlaamse Gemeenschap

Matthew Leifheit & Cynthia Talmadge, ‘Vanity, from the series Untitled, Collaborative Work’, 2014, C-print, 90x 142cm, Courtesy of the artists and FOAM

Roelien Brink, ‘I love you Mechanised Sculpture with Found Object’, 2018 & ‘Name Change Performance’, 2018, Fine art prints, 20 cm x 30 cm, Courtesy of the artist

Roelien Brink, ‘I love you Mechanised Sculpture with Found Object’, 2018, Installation, Courtesy of the artist

Sarah Van Marcke, ‘Burned photographs’, 2018, 90cmx60cm, inkjet on fine art paper, mounted on dibond framed in aluminium frame

Sarah Van Marcke, ‘Errors and residuals’, 2018-2019, 5 selfpublished and handmade artist publications, 26cm x 20cm each, depending on issue from edition 70-250, Courtesy of the artist

Simon Menner, ‘Surveillance Complex’, 2010-2014, 15 c-prints framed, variable sizes, 2 video color loop, Courtesy of the artist

Zach Nader, ‘Optional features shown’, 2012, single-channel HD video, Courtesy of the artist and Microscope Gallery

Office for Joint Administrative Intelligence, Chris Dreier & Gary Farrelly, ‘Office Installation (for performance)’, 2018, Courtesy of the artists

Annaïk Lou Pitteloud, IF, 2019, Helvetica LT St Bold, iron oxide paint, 34.6 x 30 cm, Courtesy of the artist

Maarten Inghels, ‘The Invisible Route Antwerp as walked on June 21, 2017’, 2017, & ‘The Invisible Route Hasselt as walked on June 13, 2019’, 2019, Fine art inkjet with hand painted pattern framed

Sarah Van Marcke, ‘Territorial drift’, 2018, 90cmx60cm each, inkjet on fine art paper, mounted on dibond framed in aluminium frame

Annaïk Lou Pitteloud, Object Relations, 2015, Diptych of Lambda prints Aluminium frames 120 x 85.4cm each, Courtesy of the artist

Corinna Schnitt, ‘Hello Ms Schnitt’, 1995, color video with sound, 5min. Courtesy of the artist

Francis Alÿs, ‘Looking Up (Plaza se Santo Domingo, Mexico D.F., Agosto 18, 2001’ & ‘The Rehearsal I, Perro-Pelota, 2000’, Videos color with sound

Rob Wetzer, ‘Lost Worlds’, 2017, 7 inkjet print op Hahnemuhle, aluminium in zwarte lijst, variable sizes, a print on bannervinyl, videoprojection , Courtesy of the Artist

Ruben Bellinkx - The dressage nr I and II, 2017, study for film, pencil on prepared paper, 77 x 57,5cm each, Private collection, courtesy Ruben Bellinkx and Geukens & De Vil

Ruben Bellinkx - ‘The Table Turning’, 2006, 16 mm black and white film, continuous projection, no sound, Courtesy Ruben Bellinkx and Geukens & De Vil

Mémé Bartels, ‘The Complete Collection: winter, underwear’, 2016, Fine art prints, 2m x 5m, Courtesy of the artist

Sarah Van Marcke, ‘The Molding Principle’, 2017, 90cmx60cm each, inkjet on fine art paper, mounted on dibond framed in aluminium frame, Courtesy of the artist

Constant Dullaart, ‘High Retention, Slow Delivery Bots’, 2016, 7 Archival inkjet prints on Forex, phone, wandholder, 120x84 cm each, Courtesy of the Artist and Upstream Gallery

Rob Wetzer, ‘Lost Worlds’, 2017, 7 inkjet print op Hahnemuhle, aluminium in zwarte lijst, variable sizes, a print on bannervinyl, videoprojection , Courtesy of the Artist

Guy Cassiers, ‘Manifest van Peter Handke’, around 1979, written letter, 10cmx15cm

Press