During the opening night, the artist treated guests to liquorice, fennel and wasabi ice cream as well as cocktails made of Riesling wine with lavender ice cream.
View of 'LASSO LADEN' - An abandoned ice cream parlor.
Eighteen silver, black and wooden ice cream parlor stools, one silver chair and two golden locks.
View of the installation 'SAD EIS' - Monolithic ice cream displays that look like sad, chubby teenagers.
Five ice cream cones painted in Signal White, Silk Grey, Traffic Grey A,
Traffic Grey B, Dusty Grey, Telegrey 4 and Platinum Grey.
147 x 60 x 60 cm each cone.
View of the installation of MILLI VANILLI
Formally virginally white towels covered in sweet sauce.
Organic ice cream on towel: Vanilla, Strawberry, Rasperry, Currant, Pistacchio and Mango.
MARRY ME ME - Wedding cake stands as bland and grey as an anti-rainbow.
Wedding cake stands of 2, 3, 4, 5 and 7 storages.
Dimensions variable.
BOW BOUQUET - A bouquet composed of cones and exotic silk, a reminiscent of Kurt Cobain and Courtney Love’s pajama wedding.
Flowers: Purple and rosé orchids
Cones: Cono Fiore, Cono Pralinex Cocco, Cono Pralinex Bianco Grande,
Cono Pralinex Nero Grande, Big Fun, Maxi Cone and Trottole.
circa 170 x 100 cm.
LA FIN - An ice cream parlor left behind with four bar tables and one tabletop.
One tabletop and four ice cream parlor bar tables.
Dimensions variable.
KISS KUSS - A room filled with aniconic carpets and tender, empty kisses.
Carpets of different colours: grey, anthracite, beige, eggshell white.
Dimensions variable.
In the Wunderkammer space: 'PETER WEISS' - A white, damp, fresh and heartbreakingly canny laundry room.
Thirty-one washed towels.
Abdijstraat 2A / Rue de l'Abbaye
B-1000 Brussels
BELGIUM
[From the press sheet]
The ship of fools is an archetype based on the Narrenschiff by Sebastian Brandt, a medieval book in which a ship full of fools set sai to a fools utopia Narragonia.
Starting from a woodcut illustration from the book, I have made a work that inhabits and performs the allegory. (...) First the image was carved in to the floor of the K21 museum in Düsseldorf, and a large print was made from it. The floor was then lifted and moved, rearranged and reprinted in a scrambled form. The original ballast from the Düsseldorf ship was transformed from its shape as copies of Brancusi's Newborn sculptures to instead match the tile shapes from the floor of Tulips & Roses.
This "second part of 'Force Justify' the tile pattern was again replicated in a series of woven sails, rigged up in the space giving a
thwarted ability to move forward. This absurdist sense of agency is
typical of the project, a series of misuses of objects and ideas to make
immediately appealing stop gaps."
The Good Ship Blank and Ballast (Force Justified), 2010-2012
Woven fabric, Re-cast Aluminium (Dimensions variable)
(...) The sculptures were made out of 98 aluminium copies of Brancusi's Newborn
sculpture. These copies were melted down and recast to fit the ornament
of the gallery's floor. The notion of 'ballast' implies something that
is shaped entirely by its function - simply being dumb weight - without
any necessity of representational qualities.
Liquidity in the Mind of the Fool, 2012
Glass, Enamel on copper, Tin, Bronze, Fossils, Shells, Coins, Books (Dimensions variable).
"Liquidity in the Mind of the Fool contains small Brancusi's Newborn
sculptures now tumbled and submerged in melted glass or enveloped in
Tin. Visible through a melted red glass panel is the original image of
the woodcut, now transformed in to a specially printed secure bank note.
One of the sculptures is made up of badly minted coins, which present a
balance between material and symbolic, with the validating stamp
sliding from the face of the metal disc."
19, rue de la Clé
1000 – Brussels
BELGIUM
Images 1–9: Courtesy of Sarah Ortmeyer and Meessen de Clercq.
Images 10–13: Courtesy of Lucy Skaer and Tulips & Roses, Brussels.
