Exhibition BO STOKKERMANS 28 February 2021

28 February 2021 | Online: Instagram Gastatelier Leo XIII

artist in residence BO STOKKERMANS
in collaboration with JACK SEGBARS

A fellow labourer was asked to join Stokkermans in the time of work that was spreading out. (I) A space of work was filled with work. The invited labourer was happy with her work. A space was built. Another fellow labourer is asked to submit her thoughts about the work done by Stokkermans in the time provided. (II) This work is in the making. We will have to await what this brings. The nature of the work and time that was spent remain illusive for now.

Residencies are part and parcel of the world of art. They provide the hub-space and -time within the evolving practices of artists, connecting their work with the network of the artistic infrastructure. They are structural connectors. As production forms they combine both the inner logic of artists’ work and the outwardly aimed logic of the projected ambition of art as field of production. There where the heteronomy of conditions touch those of idealized production: ‘art work’ in short. Residency periods are rumoured to provide off-time from the outside pressures, rumoured to be an escape from the market, a free-haven for production otherwise impossible.

The market in this rendition is an overbearing and coercing figure. This of course is a skewed vision if we consider artistic production as such to be ordered around this ‘rumour’. It is what art is, to work in this rumour (or even more fitting: to work the rumour). Residencies in short, seen this way, are common part of the common economy of common artistic production.

Stokkermans considers his time within this constellation from this perspective. As possible art labourer he saw himself working in the time given. What is the art labourer producing? Hesitant to submit to the time of art production, Stokkermans subsumed himself fully to the time provided. He ordered himself to the task set before him. Stokkermans saw himself order himself to the time of production. This is maybe where it gets tricky.

Residency time is common production time in service of the common idea of art, the art labourer a common production labourer. The measures of art-time and non art-time are inter(c)locked in the end. Albeit there is one difference of course, work is performed here. One may ask though if not all work is performed, all work a performance in the space of time set before us. One can also than say: art labour is performance doubled. What than are this time and this labour?

Now the market, it is this imposing figure, it always was. It is a big thing. We always had/have the time, as maybe you can see. This maybe is where it gets tricky.

Text Jack Segbars

I • Emmie Liebregts used the sleeping quarters of Gastatelier Leo XIII as a studio from January 11th to February 5th, where she founded the work ‘SLEEPING DOGS’ II • Puck Kroon is invited to write a text about the exhibition, from a spectator’s perspective. This text will be published February 28th.

Exhibition : BO STOKKERMANS

4 February – 4 April 2021 | Window display Studio de Gruyter

As artist in residence at Gastatelier Leo XIII (01-11-2020 – 28-02-2021), Bo Stokkermans was invited by Studio de Gruyter to present results of his work period in their window display. Stokkermans’ work will be exhibited here until April 4th.

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In collaboration with Studio de Gruyter Visiting address: Gasthuisring 5, Tilburg

Artist in residence January – February 2021

EMMIE LIEBREGTS

at the invitation of

BO STOKKERMANS artist in residence at Gastatelier Leo XIII

At the invitation of Bo Stokkermans, Emmie Liebregts used the sleeping quarters of Gastatelier Leo XIII as a studio from January 11th to February 5th, where she founded the work ‘SLEEPING DOGS’: ‘Who’s a good boy?’; painted in uncomfortably large neon letters – the walls and ceiling seem to scream this question. On the floor of the room, a pink dog basket, an upright blue bone and an indefinable prickly yellow object are displayed. The basket is inviting, soft and large enough for a person to sit or even lie down and curl up in. From every corner of the room, the question overwhelms the apparent comfort with a threatening, confronting weight.

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