Hynek proposed three steps:

1. Visual testimony from a distance of less than 150 metres, on which a degree of detail becomes clear and an angle of movement can be deduced.
2. Physical traces of the event: impressions on the landscape, power failures or physiological effects on people.
3. The final step involves direct contact with a living entity.

Out of Sight uses this framework as a way of thinking about connecting with our artists, partners, audience and neighbourhood. Classic relations of spectatorship are expanded to include direct participation and collaboration.

In the first chapter we immediately set the tone with an extended weekend of diverse interactions. Ranging from a shared dinner to local children investigating the history of our new space as a car workshop. Visitors from abroad invite us into their current research and a collective of female artist/filmmakers from Antwerp invite us to share their perspective on our surroundings.

Close Encounters. Chapter 1 takes place during Antwerp Art Weekend.

:: PROGRAMME ::

16/05/2024 from 19:00-21:00
OPENING OF THE NEW VENUE with the SHARED DINNER hosted by Hafsa Elazzaoui and Latifa Saber 

Hafsa Elazzaoui and Latifa Saber explore how food is deeply intertwined within our relationships, our cultures, our identities and our politics, is their bread and butter. When hosting dinners, Hafsa and Latifa underline the importance of what it means to be one with the dinner table and those you’re sharing it with, while paying close attention to each ingredient that’s intentionally brought to the table. “Eating for research purposes” also is a quintessential part of their practice. 

16/05-19/05/2024 from 12:00-18:00 (on 16/05 until 22:00)
URSULA #3: THE ONES WHO WALK AWAY FROM OMELAS / exhibition
The exhibition takes place on the first floor of the new Out of Sight venue.

Ursula artists in the exhibition: Meltse Van Coillie, Jana Coorevits, Lydia Hannah Debeer, Ans Mertens, Alex Schuurbiers, Isabelle Tollenaere, and Kathy Vanhout

Ursula collective reaches back once again to a text by Ursula K. Le Guin: “The Ones Who Walk Away from Omelas”. It tells the story of a seemingly perfect city, Omelas, where the happiness of the people is built on the suffering of a single child. The story raises questions about the ethical foundations of a utopian society and the individual’s responsibility in the face of collective well-being.

17/05/2024 from 18:00-19:00
IMAGES OF PAST AS IMAGES FOR THE FUTURE by Doplgenger / lecture-performance

Doplgenger is invited to present IMAGES OF PAST AS IMAGES FOR THE FUTURE, a part of an artistic research project called “Fragments Untitled” that examines the media’s participation in the construction of historical narratives. The lecture-performance discusses the problem of remembering, representing and giving voice to distant histories through images from the media, the politics of archiving, audiovisual experiments and the impact of this language on the viewer.

Out of Sight organises this event in collaboration with MORPHO.

18/05 and 19/05/2024 from 12:00-18:00
CAR DECONSTRUCTION: THINGS NEED TO BE TAKEN APART. A LOT OF THINGS. by Dina Rončević / durational performance

CAR DECONSTRUCTION is a durational performance in which the artist Dina Rončević, together with a group of girls, calmly deconstructs a car. Girls get a chance to work with tools and learn to use their bodies in relation to heavy forces. Performed in front of an audience but lacking a need for its gaze, car deconstruction proposes agency over our own female bodies while relentlessly following our curiosity.

The participation is open for girls from 6 till 15 years old. Do you have interest in joining? Send us an email at office@out-of-sight.be by April 30st. It is limited to 4 participants

Out of Sight organises CAR DECONSTRUCTION: THINGS NEED TO BE TAKEN APART. A LOT OF THINGS. in collaboration with Werktank.

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CLOSE ENCOUNTERS is realised with the support of Flanders — State of the Art.

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CoNec / 2019, FR, 11’
by Eden Tinto Collins

“I am those others, black bodies, lost in abstruse places, Abdoulaye, LayLa… They take possession of my I, of my role…Those haunting characters remind me of an origin to be embraced, delivered.” 

False Wife / 2022, ENG, 15’31’’
by Jamie Crewe 

False Wife is a poppers training video that leads its visitors through an ordeal of transformation. A poppers training video is typically a user-made compilation of pornographic clips, uploaded to adult video hosting sites. These clips are paired with text, hypnotic music, voiceovers, and instructions for action. Viewers are told to masturbate and sniff poppers, to let imagery and sensation meld, and reach a gooning ecstatic fervour.

False Wife’s material is obscure. Its narrative is drawn from a variety of folk tales in which transformation occurs, and relationships happen. Its footage is scavenged from sources that reflect these themes, reduced to slivers of significant imagery, rubbed together. These originating sources are warped or inflamed to say ambiguous things: to discuss desire, shame, transgression, and the longing for change, and the various ways we want—and don’t want—to face them. 

Perfect ride / 2012, 5’04’’
by Saša Tkačenko

In the interior of the Museum of Contemporary Art in Belgrade, whose purpose was neglected for years (closed down for renovation for 5 years at the moment of making this video), a skater is trying to perform what is most important to him – a perfect ride. The atmosphere of timelessness that is dominant in the space of the “abandoned” Museum of Contemporary Art appears as the perfect scenery for an incompatible action that gives its endless reconstruction a new character. This way, the work shows the intimate and intense connection between a young man and his skills and the forgotten building of the Museum, thereby retrieving the grandeur of the building through a moment that, as the action unfolds, becomes a very important experience for the actor in the video. The work is essentially an homage to the building – a master piece of modernist architecture in Yugoslavia – which, despite all current technical shortcomings, remains monumental and incredibly powerful.

KKKK / 2018, 3’18’’
by Ibro Hasanović

A loose remake of Kenneth Anger’s 1965 film “Kustom Kar Kommandos” set in Kosovo.

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The exhibition will grow from the 28^th of October until the 25^th of November, presenting the outcome of participatory projects and site-specific performances in the neighbourhood by Corpo Máquina Society, Dina Rončević, Davide Tidoni and Zorka Wollny & Tevin Mulumba.

The exhibition is the starting point of a guided walk in Kessel-Lo with architect Koen Stuyven, who grew up in the neighbourhood.

Exhibited works:

The BUCKWHEAT TOWN by Py & Verde is made from bundles of buckwheat noodles colonised by drugstore beetles. The insects’ larvae dig galleries in the noodle bundles, while also consolidating the material with their droppings and saliva. It is an ecosystem in a closed environment, where once the resources are finished, it becomes a fossil. It is the story of a tiny world, inhabited by voracious and insatiable creatures. In a way, it is a vanity, a memento mori. The shape recalls the ruined facades, retained during the restoration of buildings by props and steel beams.  The serie is currently composed of four architectures: The Last Facade of Buckwheat Town (2013), The Theater (2016), The Court (2017) and The Aqueduct (2023). As other remains are discovered, the archaeological site of the Buckwheat Town expands.

TIME, SET IN STONE (2022-2023) by Sarah Smolders is a playful experiment, a question on labour, a poetic gesture of mapping time and a visual dialogue with the Hydraulic Research Labs of Flanders. In the time frame of one year, Sarah Smolders and her team took care of a sculpture that was at the same time the sculptor of a Noire de Mazy marble. What remains is a stone as a document of one year’s activity. Time, Set in Stone tries to grasp and translate the dedicated time given to a specific site and share this with an audience. By observing the working process with a focus on touch, care, rhythm and movement, the film unravels the heavy labour into precise gestures of creation, their impact on the body and how material transforms through time. Today, the Noire de Mazy marble is permanently installed in the gardens of the Hydraulic Research Labs of Antwerp. The site-specific action, the stone and the two pictures are part of an art integration commissioned by the Flemish Government.

BEAT HOUSE DONAUSTADT  (2019) by Anna Witt is a collective sound performance realised within Kagran and Kaisermühlen areas in Vienna’s 22nd district that concentrate a piece of the city’s history. Formerly a working-class neighbourhood and stronghold of council housing, it was one of the last bastions of the Socialist Party in its fight against Austro-fascism. What interested Anna Witt most about this history is the vibrant utopia, the belief in the collective and in solidarity. For Beat House Donaustadt Witt used an ultrasound scanner to record the heartbeats of the residents of a “council housing”. At the start of the Wiener Festwochen in 2019, the residents opened their windows, letting their individual rhythms drift out and join to form a collective sound performance.

The video-documentation of participatory projects and site-specific performances in the neighbourhood included later in the exhibition:

For the performance IT TAKES A CHILD TO RAISE A VILLAGE, Corpo Máquina Society organises workshops for children between 7 and 12 years old. In several sessions, overlaps between Freestyle Football and Choreography are explored in a playful way. Each day, on 2nd, 3rd and 4th November, the workshop ends with an open moment for the public to come witness their ongoing creation.

Davide Tidoni’s ATTACK-DECAY and EACH TOUCH IS A MARK are performed in the area surrounding the Koning Albertbuilding in Kessel-Lo. Attack-Decay performed on October 28th, explores the acoustic qualities of the area by means of an impulse-generator device. Developed in the form of a durational performance interspersed with long silences, the work aims to witness the presence of an acoustics that will disappear together with the demolition of the Koning Albertbuilding. Each Touch Is a Mark performed on November 25th, starts with a performer walking in a space holding a snare-drum in front of their face. A collaborator positions themselves opposite to the performer and sets off a number of fireworks aimed at hitting the snare-drum. Developed as a slow walk punctuated with bangs of varying intensity, the action aims to explore the sense of uncertainty one feels when faced with sudden changes.

The workshop NEIGHBOURS’ JOURNAL is led by noise music composer Zorka Wollny and rapper Tevin Mulumba. During several days, participants create a spontaneous orchestra, learn to use their voice in an unusual way and create and perform lyrics based on their experiences, questions and opinions. The result is presented in a form of a video diary, in which participants perform their songs together with Zorka and Tevin on various found stages in public space in Kessel-Lo.

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PLEASE SUBSCRIBE FOR THIS EVENT HERE.
Reservation is necessary, thank you!

The event is FREE. There is limit of 60 people. Once we reach this limit, we won’t be accepting any more registrations. 

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I’M SORRY, CAN YOU MOVE, CAUSE’ I NEED THIS CROWBAR is a durational performance in which the artist Dina Rončević, together with a group of girls, calmly deconstructs a car. Girls get a chance to work with tools and to use their bodies in relation to heavy forces. Performed in front of an audience but lacking a need for its gaze, car deconstruction proposes agency over our own female bodies while relentlessly following our curiosity.

The post I’M SORRY, CAN YOU MOVE, CAUSE’ I NEED THIS CROWBAR / Postponed! appeared first on Out of Sight.

For the performance It Takes A Child To Raise A Village, Corpo Máquina Society organises workshops for children between 7 and 12 years old. In several sessions, overlaps between Freestyle Football and choreography are explored in a playful way. Each day of the workshop ends with an open moment for the public to come witness their ongoing creation.

Play together with dancers, footballers, musicians from Corpo Máquina Society.

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Technical development by Airborne Instruments.

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