On the strike. photo by jd

photo by bc

The sheep had their temporary grazing patch next to a school not far from GC Kontakt. The sheep returned in the form of staketsels, eerily finding their place behind the enclosure again. >> http://www.kasperdemeulemeester.be/essays/2020/02/compact/

Photograph by Filip Heymans

Brussels, summer of 2019

A work in collaboration with Vincen Beeckman, presented during Photo Brussels festival 04, at Hangar Art Space, Elsene, Brussels, on 14/11/19

A work in collaboration with Vincen Beeckman, presented during Photo Brussels festival 04, at Hangar Art Space, Elsene, Brussels, on 14/11/19

Collaboration with Vincen Beeckman during Photo Brussels 04 at Hangar Art Gallery, Brussels. Photos by Vincen, text by me. For the PhotoBrussels Festival, Vincen Beeckman presents a series of still lifes captured during his trips through the United States. At the end of his journey, Vincen received by chance, in a motel in Utah, notebooks written more than ten years ago by an unknown writer. Intrigued by the notebooks, Vincen asked Kasper Demeulemeester to go through them and rework parts of the letters into a text that could be shown to the public together with a selection of the photographs. "One of the interesting things about the notebooks is that they also contained loose papers, mostly lists. The writer, let's call him The Invisible Cowboy, must have added them while traveling through the US. One list was of people he collected, names, brief descriptions, and places where he met them. A second one was composed of all the things he ate along the way, which didn't seem like much, or he must not have been keeping track of his menu very well. Another one was peculiar. It consists of all the words the Invisible Cowboy didn't understand in Blood Meridian, the 1985 novel by Cormac McCarthy. In this novel, the story follows a young nameless rider, who joins a band of scalp hunters around the middle of the 19th century. As they roam the South-West of the US and the north of Mexico, spreading death and destruction wherever they come. It seemed interesting to add these words to the exhibition too, as they are all words that have been part in the creation of the (myth of the) American West. Cowboy words, murder words, words reduced to formal objects as their meaning was unknown to our writer." (Kasper Demeulemeester, 2019)

THE LOKAL FOTOTEK FOUNDATION is a project devoted to local photography, which I started with Vincen Beeckman under the wings of Recyclart. The Foundation is first of all a physical space in Molenbeek, Brussels, and radiates from the space of the cultural center in the Manchester street to the rest of the city and beyond. It is a place where photographic collaborations with the people from the neighborhood can emerge, starting from new images (which can be made in the Fototek itself, at people’s homes, or in the street) or collecting their old photographs, archiving and reproducing them. Fototek will actively collect and archive these images, and open up its collection to the public. It will consist of local archives, but will for instance also be the place where you can discover the boxes from the collection of the Fusée de la Motographie, which was created between 2017 and 2019 by Vincen Beeckman. Regularly, exhibitions will be held to showcase the growing collection to the public. THE LOKAL FOTOTEK FOUNDATION is a totally free project, the only richess it envisions is the iconographic richness hidden under the surface of Brussels. Everybody is absolutely welcome to cooperate in the Foundation, everything is possible if it corresponds to the principles of the Foundation. http://www.fototek.org

As part of the group expo ÎLOTS (May 2019), I created a Phantasmata shop inside imaginary walls, where the public could save and then appropriate prints I made of the phantasmata generated as part of the Photographic-Therapeutic Walks in the spring of 2018. As long as they did not take a print from the pile, paint kept dripping from an elevated bucket onto the works. At the exit of the takeaway, they were asked to write down their name and the title of the work they took with them, thereby authenticating the work they made while cleaning the paint from the print.