Notes for exhibition 8 September – 13 October
/The show’s physical structure is based on Josef Albers’ Structural Constellation #23 (see image) Support > The intermediary between the sense of space and structure, and the spectator who receives the idea. (physical towards structural) Structure of object/work/show – A structure that may be developed in space and time, while form is apprehended as those elements enter into actio
/The object of which this is the first sentence doesn’t exist yet. / At the moment the voice starts to speak a creative subject is established. / The object exists of: what it is created of, that what has created it, and how it has been created. Its unity and consistency are established by the fact that the object contains its own life: The body of the object exists from its point of origin to the moment it stops to exist. / While the vision on the object and the spectator’s proximity to the object increase, the spectator’s perception and sense of the object change. / The object is dematerialized to such an extent that it becomes an active zon
/The (absent) protagonist as double agency – the development of (the story/plot of) the text / as living (in) object – reflective abstraction. The subject’s relation to the in-forming of matter as a process of time continues until the object is dissolved into an execution of the relations of its separate elements. “In this way my body, while itself the product of an idea, would doubtless also serve as the best cloak with which to hide the idea.” (Sun and Steel, Yukio Mishima) “Without that house there is no novel. Without that novel this is just my simple apartment.” (Period, Dennis Cooper) “Now I shall stop writing in order to stop concentrate, serenely, on finding the way to stop these motors. Then the breach will open again, as if by magic, and I shall be outside.” (The Invention of Morel, Adolfo Bioy Casares
Steve Van den Bosch
in dolores with #@&”’(§¶!¡ø°)}-_¨^*$€%£“?,?.;/:÷+=?
Being fascinated by dialing the wrong number, standing in an elevator, a misprint in a catalogue-caption or the mechanics of a joke, it’s the blank or breach that is laid bare by such mundane events that constitute the focus of Steve Van den Bosch’s work. Although the rather minimal means by which he articulates his ideas could be read more as an exercise in compulsive boredom or catatonia than a tribute to minimalism, these are calculated decoys used to open up the problematic space of the blank mentioned above.
Not confined to any medium, he uses whatever is most efficiënt for a certain concept or attempts to conceptualize its inefficiency.
‘At the end of last year I began recording white walls during visits to known galleries in New York -Marian Goodman, Gavin Brown’s enterprise, Baumgartner, etc. After I realized this wasn’t allowed I had to act like a regular spectator to be able to make the recordings, which made the whole idea more interesting. Because there wasn’t just the shift from context to exhibit and the other way around, created by the gallery itself, but it also forced me to engage in several performances which were -necessarily- unnoticed by the audience, in this case the venues’ staff. Of main importance to me though is that, through basically generating itself the way it did, the work has a questionnable existence. It’s neither a performance nor a carefully constructed video, maybe it’s a residue of something that wasn’t really there in the first place.’