published on the occasion of the exhibition
DO WE DREAM UNDER THE SAME SKY
Okayama Art Summit 2022
curated by Rirkrit Tiravanija
edited by Tommy Simoens
photography by Gert Robijns, Guci, Caroline van Dooren
30 September (Friday) to 27 November (Sunday), 2022 [51 days]
Held in Okayama City once every three years, the Okayama Art Summit is an international exhibition of contemporary art. With Rirkrit Tiravanija taking the reins as artistic director, the Okayama Art Summit 2022 brings the artistic touch to various historical and cultural sites near Okayama Castle and Okayama Korakuen Garden for two months from 30 September to 27 November, 2022.
Part of the exhibition: Give and Give, BIENALSUR 2021, San Juan, Argentina
This new publication, edited by Tommy Simoens, with contributions from Etienne van den Bergh and Sam Steverlynck, provides an overview of a decade of spatial art based on Robijns’ ‘Reset’ concept. Published by LUDION.
Artist Gert Robijns (Sint Truiden, 1972) has been working for ten years on the ‘Reset’ idea, which focuses on recreating and revaluing the landscape. In 2010, he created his first work, Het Dorp, which can be seen as the starting point of his Reset practice. Robijns made a copy of his native village of Gotem, on a scale of 75/100, in white wood and metal, including church and vicarage. He erected the construction on the old military airport at Brustem, half an hour’s bike ride from his native village. The “Reset” idea never left him and continues to this day in his work, with projects such as Reset Home (the transformation of his grandparents’ house in Borgloon into a house for art), Reset Plein Air (a plan for a work of art that integrates into the landscape of Haspengouw), Reset Charbon (a reflection on Limburg’s mining past) and, more recently, the travelling project Reset Mobile.
Written and edited by Edwin Carels published by Tommy Simoens, Antwerp and Ludion
In the mid-Seventies the influential stop-motion animators, Stephen and Timothy Quay, embarked on a series of dark graphite drawings, conceived as imaginary film posters. They kept their first autonomous art project hidden for decades, allowing only a few glimpses to transpire in some of their animation classics such as Nuctura Artificialia and Street of Crocodiles. In hindsight, the Black Drawings can be considered as a blueprint for their future work.
The exhibition Yutaka Sone: OBSIDIAN, is the artists first institutional solo exhibition in China, held at Sifang Art Museum Nanjing. The Exhibition features key works by the artist made between 2000 and 2017, as well as newly commissioned works/installations, collaborations, and performance. The exhibition will offer an unprecedented view of how the various strands in Sone’s practice interrelate and attest to the ubiquitous energy of his artistic spirit.
CONDO is a collaboration between 36 galleries with an international scope in 15 various locations in London. The project offers an alternative model to the art fair and gives emerging artists a platform. Carlos/Ishikawa host Tommy Simoens and ShanghART. Oscar Murillo is curating the show presenting “Aztec Light” and other pieces by Yutaka Sone, Ouyang Chun and Murillo himself.
Opening Party: Salon Aleman @ café Entourage
Eduardo Sarabia and Tommy Simoens are looking forward to see you at the party in honour of the artist at ENTOURAGE Waalsekaai 33, 2000 Antwerp, next-door of the gallery. Salon Aleman opening night’s dj’s are Peter Adjaye aka AJ Kwame and DAOUD by Charlotte De Cock.
Sarabia’s ongoing party project Salon Aleman first premiered in Berlin, in the basement of unitednationsplaza, and has since traveled to venues in cities all over the world, including the Whitney Museum of American Art as part of the 2008 Whitney Biennial, the New Museum in New York, the 21c Museum in Louisville, Kentucky and Sifang Art Museum, Nanjing as part of the exhibition Yutaka Sone: Obsidian.
Rirkrit Tiravanija’s Untitled 2017 (Oil Drum Stage) was made for the occasion of the exhibition Yutaka Sone: Obsidian at Sifang Art Museum, Nanjing. From the outset, Rirkrit Tiravanija has always been interested in countercultures that have nourished his work. Punk, the 1970s iconic anti-establishment movement, was a response to the era’s various artistic, economic, and social crisis. It re ects a total rejection of conventional circuits and is notable for allowing anyone and everyone to come on stage to express themselves regardless of talent. Inspired by this culture of amateurism and contention, Rirkrit Tiravanija resorts to recurrent provocation in experimental situations, leaving viewers to interact freely with his installations and, thus, shift their status from visitor to participant. “ For me, the core of my work lies in the very construction. Without interaction or activation, it doesn’t exist.”
With the installation Untitled 2017 (and the creatures outside looked from pig to man, and from man to pig, and from pig to man again; but already, it was impossible to say which was which.), Rirkrit Tiravanija transformed the ‘art fair booth’ of Tommy Simoens at Westbund Art and Design into a single piece of art.
Untitled 2017 (and the creatures outside looked from pig to man, and from man to pig, and from pig to man again; but already, it was impossible to say which was which.)
With For the time being, Pavel Büchler has arranged for a single diamond to be permanently installed at the Royal Atheneum in Antwerp. The diamond will be embedded in a windowpane of the schools’ AthenA hall, but it will be worth slightly less than the window. Any attempt to get the diamond back out will destroy the window and overwrite the value added by the diamond. In economic terms, without an exchange value the diamond adds zero value, which leaves it to breathe and be on the terms Büchler would prefer: as art. Based in Antwerp’s diamond district, the Royal Atheneum was founded in 1807 by Napoleon. Guided by principal Karin Heremans, and thanks to a group of dedicated teachers, the school has become renowned for the value it places on the arts in its pedagogical programme. Through collaborations with some of today’s most outstanding artists, it positively stimulates intercultural discourse and experimentation.
For the occasion of the exhibition NEVER HAD AN IDEA IN MY LIFE at Tommy Simoens, Pavel Büchler commissioned a Latin translation of a passage from Karl Marx’s & Fredrich Engels’ The Communist Manifesto (1848). It will be typeset and printed on the Plantin Moretus Museum’s historical presses. This single copy, Factionis Communisticæ Præconium—1562 will be added to the collection of the Hendrik Conscience Heritage Library by Iris Kockelberg, the Plantin Moretus Museum’s director. The work will be on display at the Royal Atheneum in Antwerp tomorrow night from 6-8PM.