Curator Exquis is an exhibition put together by fifteen curators. The show has been conceived following the rule of the infamous surrealist game “Cadavre Exquis”, also known as Exquisite Corpse in English. In this version, drawing or writing has been replaced by the selection of artworks.” Greylight Projects
artists: Amber Vanluffelen, Anne
Lise Le Gac, Ben Kaufmann, Birgit
Knoechl, Camila Farina, Cécile
Bouffard, Florian Kiniques, Gilles
Ribero, Henry Andersen, Laurens
Mariën, Lia Cecchin, Marianne
Mispelaëre, Marieke Coppens,
Navine G. Khan-Dossos, Ricardo
van Eyk
curators: Ben Kaufman, Charlotte Crevits, Charlotte Van Buylaere, Franz Thalmair, Gatien Du Bois, Karin Schlageter, Lene ter Haar, Lucrezia Calabrò Visconti, Margaux Bonopera, Marie DuPasquier, Nienke Vijlbrief, Padraic E. Moore, Pauline Hatzigeorgiou, Septembre Tiberghien, Sophie Lapalu
“Following the display that will recall or receive Amber Vanluffelen’s performance, I submit a work by the composer and visual
artist Henry Andersen (born 1992 in Sydney, lives and works in Brussels) entitled Stanzas or The Law of the Good Neighbor. This piece
starts with a list of words the artist began writing in the summer of 2015 while he was in Germany, a long list he’s been expanding
intermittently since then. The principle is simple: each word of the list is a homophone to the word that comes before it, generating
a text that is quite free. He practices this exercise on his downtime, as when riding trains, being aware of his surroundings while
maintaining a spontaneity to his flow. Henry invites various friends to give readings from a portion of the list - always reading in
pairs. Sometimes, the readings are done in public, sometimes they are recorded. The two readers decide together on the speed,
rhythm and tone of their interpretation. The visual potential of the words associations is thus being framed or guided by the
rhythms of language and the hypnotic musicality of the voice. The voices reveal a relation of duality searching for synchronization.
As if the impossibility to encounter the other reflection creates an imitative harmony. There are five recordings in total (each one
lasting more or less 22 minutes), to play on a loop, with a 2 minutes 30 seconds of silence between them. Ideally, the sound should
be immersive, and the work resonate in the exhibition.” P.H
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