BOOST IN THE SHELL
22 MAY – 31 JULY 2005
English text

Floor plan DE BOND


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Sarah Baker
RUIMTE 10

A portrait of Bill May (BILL MAY IS THE BEST)
2004 | Video – DVD | 7 minutes – projection & rap music
One photograph & nose-clip of Bill May


A portrait of Bill May
2004
Video/DVD
7 minutes

A Portrait of Bill May
2004
Lambda on Aluminium
125x140cm

The noseclip
+ Plinthe 120 x 30 x 30 cm
& plexi box

In the late 80’s the artist Sarah Baker and Bill May competed as synchronized swimmers nationally which led to mutual respect and friendship. By 1999, Bill May was the United States National Champion in all synchronsized swimming events and still holds this position today. However, men are currently excluded from competing in Olympic synchronized swimming events. The world may never know if Bill May could achieve his ultimate goal of an Olympic gold medal. Inspied by his poignant story and struggle for recognition, in this portrait Sarah Baker evokes Bill May’s tale.
Courtesy of the Artist, London
Gilles Barbier


Le pied tendre
1995 | mannequin, tar, feathers, railway rail & oil cans | 175 x 450 x 75 cm
Courtesy Galerie G-Philippe & Nathalie Vallois, Paris



Sans Titre (dans le noir)
2004 | installation
Wood, carpet, paint, plastic, electric motor
280 x 370 x 340 cm
Courtesy Galerie G-Philippe & Nathalie Vallois, Paris

communiqué Gilles Barbier 2003

communiqué Gilles Barbier 2005
Valérie Belin




Série "Michael Jackson"
Sans titre | 2003 | Photographie noir & blanc | 161 x 125 cm
Courtesy Galerie Xippas, Paris
Jemima Brown



Sculptures
Daniele Buetti

GoodFellows
1996 | c-prints – framed 120 x 180 cm each
Courtesy Aeroplastics contemporary, Brussels
Jake & Dinos Chapman


Unholy Mc Trinity 2
2003 | Installation, bronze, wood | 180 x 210 x 60 cm
Courtesy of the Olbricht Collection, Germany
Chen Chieh-Jen

Liz Cohen
HALLWAY RUIMTE 8

Bikini carwash
2004 | Performance on Video | Dvd 4 minutes
On a small monitor or projected
Jeanne Dunning
RUIMTE 8


Getting Dressed
2002 | Video (monitor)
Petroc Dragon Sesti


A Memory of Matter
2005 | 2 life-size wax sculptures on plinthes – plexi case on top life-size
Courtesy of the artist, London

Joy Garnett


Concorde
66 x 76 cm | Oil on canvas
Margi Geerlinks

C-prints diasec/dibond 170 x 73 cm & 100 x 73 cm
Courtesy Torch gallery, Amsterdam
Anthony Goicolea



Act of Contrition
2003 | video projection

Undertow
2003 | video projection
Courtesy of Torch gallery, Amsterdam
John Isaacs


LET THE GOLDEN AGE BEGIN (REVERIE)
(detail)
Wax plaster, stell, electrical appliance, water, beer, glass, rubber, ceramic, colthes, hair... etc..
2005 | 200 cm long x 60 cm wide x 250 cm high
Justine Kurland


Eel swamp
C-print

Battlefield
2001 | satin laminated c-print | 76 x 102 cm
Photo: Mitchell-Ines & Nash, New York
Courtesy Rodolphe Janssen gallery, Brussels
Zoe Leonard


Framed BW print
Courtesy of 20.21 Galerie Edition Kunsthandel GmbH, Essen (D)
Lawrence Malstaf
Dominic McGill



Dead End World in Favor of the Domesticated Poodle
2003 Mixed Media. 111” x 48” x 20” or 2820mm x 1220mm x 510mm

The fight to the death between the Wolf, at one end of the evolutionary scale ,and the domesticated poodle, at the other .
The wolf is caught in a hunters trap the poodle wears a diamante leash, strewn on the snow covered ground; a Poodle’s silk lined coat and
that of a Wolf .
The March of Progress and the Death of Humanism; the more we consider ourselves to have developed the more humanity we have forfeit .There is no going back revolution In Post Industrial society is futile; innate class and cultural identity is forfeit ; The poodle can put on the wolf’s coat and the Wolf ,the poodles clothes.
According to Jaques Ellul, the more restrictive our social mechanism the more exaggerated are the associated ecstatic phenomena "Technique encourages and enables the individual to express his ecstatic reactions in a way never before possible. He can express criticism of his culture, and even loathing. He is permitted to propose the maddest solutions. The great law here is that all things are necessary to make a society and even revolt is necessary to make a technical society ……Technique defuses the revolt of the few and thus appeases the need of the millions for revolt."
Marcuse has a phrase for it: "repressive de-sublimation," which is the "release of sexuality in modes and forms which reduce and weaken erotic energy." Erotic energy being the source of real rebellion as opposed to Burlesque .
1984 vs Brave New World or Communism vs Capitalism ,In the Western World the question is irrelevant Post Industrial society is absolute we are blindly amusing ourselves to death.

version 2

Dead end world in favour of the domesticated poodle, presents a leashed Poodle and a snared Wolf in a fight to the death. The struggle between the savage and the civilized world, the 2 animals morph out of silk lined fur coats ,their identity easily altered. The poodle was the most popular dog through the darkest periods of the Cold War,

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Ryan McNamara
RUIMTE 1


HELP
Tirage couleur 100 x 100 cm


Scream Queens
2005 | Video | DVDR | 7 minutes
Courtesy of Aeroplastics contemporary, Brussels
Alex McQuilkin
RUIMTE 7


Test Run
2005 | Video
The video "Test Run" explores a romantic fantasy of suicide.. The character is filming herself in the attempt of drowning in a bath tub. On one level it exposes the appeal of suicide as a "time out", escape and relief. On another level it reveals the superficial appeal of suicide as a cinematic fantasy instilled in us through the illustrations of the tragic hero taking her/his own life onscreen.
Courtesy of Marvelli gallery, NY, USA
Philippe Meste


Sexe Moderne 2
1996 | sculpture resin, fiber glass + Iris print
Courtesy of Aeroplastics contemporary, Brussels
Bruce Nauman
RUIMTE 9


1967, 4:36 min, color, sound, 16 mm film
A play on "thigh" and "sighing." Nauman in this film shows a close-up of his thigh, with his hand variously pinching, pushing, and manipulating skin and flesh, as the soundtrack presents his breathing.
Please note: this work must be projected.
Courtesy of E.A.I, NY, USA
Please contact the gallery for more information
David Nicholson


Recovery
2003 | oil on canvas | 240 x 275 cm
Courtesy of The Olbricht collection, Essen
Yoshua Okon
RUIMTE 6 X 2 + ?


Poli I
1999
Video still
Courtesy of the artist.

Poli IV
1999
Video still
Courtesy of the artist.
Ronald Ophuis


Voetballers I

1995 | 260 x 320 cm

Untitled
oil on paper
1999 | 200 x 120 cm
Courtesy of De Praktyk gallery, Amsterdam & Aeroplastics contemporary, Brussels
Martin Parr

C-prints | various formats
Courtesy of 20.21 Galerie Edition Kunsthandel GmbH, Essen (D)
Leopold Rabus


Scène sainte
2005 | Oil & nail polish on canvas | 180 x 190 cm
Daniel Roth
Cheri Samba
Andres Serrano


The Church
(St. Clotilde V, Paris)

1991
Cibachrome, silicone,
plexi-glass, wood frame
150 x 124 cm
Edition of 4


Colt D.A. 45

1992
Cibachrome, silicone,
plexi-glass, wood frame
124 x 150 cm
Edition of 3


The Morgue
(Pneumonia Due To Drowning II)

1992
Cibachrome, silcone,
plexi-glass, wood frame
124 x 150 cm
Edition of 3


Budapest
(the Model)

1994
Cibachrome, silicone,
plexi-glass, wood frame
Edition 5/7
101 x 81 auf 115, 5 x 95 cm


Piss Thinker

1988
Cibachrome
Edition 3/10
signiert, nummeriert und
datiert auf der Rückseite
101,6 x 69,8 cm

Klanswoman [Grand Kaliff]

1990





Gregor Schneider


Sculpture
Collection Eric Decelle, Brussels
Stephen J Shanabrook




Stephen j Shanabrook's undertakings are an evisceration of pain, a search for a different facet of beauty therein. Vaguely abstracted narratives based upon the experience of reality, his inveterate and mysterious works are intensely evocative, sometimes disquieting, yet ultimately exude a peaceful sensibility.

The celebrated Morgue Chocolate editions are made from impressions collected at morgues in Russia and America. These wounds structured superfluous in chocolate are temporarily removed for the living to process again through a hint of digestion. These chocolates are not meant to acquaint us with death per say, but to nourish life in the sense of our connection to.

The Moth Collection uses a common entomology setting, to lay bare the hubris of narcotic use. Using the shade of night the moth and the addict share their obsession of getting closer to the light, that light which can on occasion eradicate.

The L.O.V.E as a List of Vicarious Edges –these bandages are not healing the wounds, but instead conceal the source of pain i.e. the weapons (blades, needles, shards of glass etc.). This collection of bandages and blades makes a flag that reveals a territory of hidden pain.
Jim Shaw



Sculpture
Collection Eric Decelle, Brussels
Cindy Sherman


Untitled #355
C-print | 2000
91,5 x 61 cm
Courtesy of the Olbricht Collection, Germany

Untitled #362
C-print | 2000
68,6 x 54,7 cm
Courtesy of the Olbricht Collection, Germany
Please contact the gallery for more information
Laurie Simmons


Untitled (Band)
1994
Cibachrome Photograph
Edition of 10
60 x 49 cm

Room Underneath (Red)
1998
Farbfotografie, gerahmt
3/5
101,6 x 127 cm
Kerry Skarbakka




C-prints | 150 x 125 cm each
Courtesy FIFTY-ONE gallery, Antwerp
Larry Sultan


Color prints | 2 sizes


West Valley Studio #13
2003 | Color print
Courtesy Galerie Thomas Zander, Cologne

Havenhurst Drive
1999 | C-print 100 x 127 cm
Courtesy Galerie Thomas Zander, Cologne
Milica Tomic
(LARGE) RUIMTE 13

















XY Ungelöst
Del LaGrace Volcano

Inez van Lamsweerde


Lick
1990 | Cibachrome print | 50 x 50 cm
Private collection, Brussels
Bill Viola
(LARGE) RUIMTE 8


Reverse Television -- Portraits of Viewers (Compilation Tape)
1984, 15 min, color, sound

Viola inverts the position and gaze of the television viewer in a series of
forty-four portraits of individuals sitting at home in their living rooms,
staring silently at the static camera as though it were a TV set. Produced
specifically for broadcast television, the original one-minute segments of
over forty subjects from the Boston area were intended as unannounced
inserts during the daily programming schedule. Viola essentially subverts
the time and space of broadcast television, as the extended duration of
these real-time portraits interrupts the spatial and temporal field of TV
scheduling like edits. Writes Viola, "Two classical poses emerge in this
work -- the formal photographic portrait and the posture of the private
television viewer at home. The work momentarily inverts the classical
TV/viewer relationship, and television becomes a medium of reverse
portraiture."

(Note: This compilation includes fifteen-second excerpts of the original
one-minute portraits, presented in the order in which they were recorded.)

Production Assistant/Still Photographer: Kira Perov. Supervising Producer:
Susan Dowling. Produced in association with the New Television Workshop at
WGBH TV, Boston.
Please contact the gallery for more information
John Waters


Mental
9 chromogenic color prints (13 x18 cm)
ed. 4/8 | 1998
frame (L shaped):27 x 152 (+ 27 x 28cm)

Pimples
8 chromogenic color prints (13 x 18cm)
ed. 3/8 | 1998
frame : 19,5 x 159,5cm
Sophie Whettnall
RUIMTE 8 (PLINTHE)


Self-portrait from the inside (autoportrait de l’intérieur)
2003 | 1 minute in a loop – DVD-R
Courtesy Baronian-Francey
Eric White


Metastasize
2005 | acrylic on canvas | 61 x 122 cm

Product (Anti-Love Expurgated)
1997 | Acrylic on Canvas | 61 x 30,5 cm
Courtesy of Aeroplastics Contemporary, Brussels
Also works by
Nobuyoshi Araki


Untitled
2000 | BW print | 80 x 120 cm
Courtesy Collection Bruno Moulinasse, Brussels
Stephan Balleux


Untitled 2
2005 | painting | 90 x 70 cm

Painting painting
2003 | oil on canvas | 195 x 100 cm
Courtesy of the Artist, Brussels
Julien Beneyton


Elle dort à l'abri
2004 | acrylique sur bois | 140 X 90 cm | signé et daté
Courtesy galerie Alain Le Gaillard, Paris
Norbert Briar


Untitled
2004-2005
Color prints
28 x 36 cm
Elinor Carucci


the kiss

mirror reflection

mother’s head in sink
Charley Case
(small projection on floor 30 x 50 cm with own mini projector) RUIMTE 2

Nezaket Ekici
RUIMTE 6

Gypsum Make-up / Spaghetti / Balley Dance [PERFORMANCE] = video monitor
Performance im HBK Braunschweig, Frühjahr 2001
Courtesy of the artist, Berlin
Paul Glazier


Untitled
Zink etching plates
120 x 90 cm | Ed. 3
Courtesy of the artist (Amsterdam)
Robert Gligorov

HULK
1997
Color print
110 x 110 cm

Various color prints 70 x 50 cm
To be chosen from
Courtesy of Aeroplastics, Brussels
Greg Gorman


Divine

Johnny Depp

Djimon screaming


Black & white prints
Hendrik Kerstens


Sunburnt | 2001 | 120 x 90 cm | Color print
Courtesy of Artspace Witzenhausen, Amsterdam
Valeriano Lopez
RUIMTE 11
John Lucas
RUIMTE 7


Iowa versus Iowa State in the city of Iowa City
Iowa | 2002 | DVD-R | 4 min 3 seconds | Ed. of 5
Students celebrate before a college football game between interstate rivals
Courtesy of the artist, Memphis, USA
Glen Luchford

Loretta Luxx


Selection of 3-5 small color prints

Please contact the gallery for more information
Marcel Marien




Les plains-pieds ou les couleurs du froid
1971 | Collage
Please contact the gallery for more information
Mario A


Black & white prints (dyptych) -> pinkish illustration not to be considered
100 x 120 + 100 x 120 | #22
Courtesy Artspace Witzenhausen, Amsterdam
Sebastian Muniz

Shirin Neshat

Miki Nitadori


Outward Outward (from series "Infinite Elephant Dreams")
2001 | Colour photograph on Agfa paper / Diasec | 50 x 75 cm | Ed. of 8
Ixone Sadaba

Tirages couleurs 80 x 120 cm
Sam Samore

Pépé Smit


Les Fleurs du mal
Color print
2 sizes
Cédric Tanguy

Alastair Thain


Real doll
2002
Duo-tone prints
70 x 50 cm each
Views by the photographer of the “Real Doll” factory of San Diego, California
Collection of the artist, London
Cornelie Tollens


Untitled
1994 | Color print | 50 x 50 cm
Collection of the artist


The Kiss
Joel-Peter Witkin


Catrina
Photography | Silver print | 91x79 | 2004


Still Life, Marseilles
76.2 X 101.6 cm | 1992
Virtual Times: Playing True by Arthur Meurant
vicious & deviated video games
(or PC) RUIMTE 11
OPENS IN A NEW WINDOW
A small vicious deviated video games's analysis 1982-2005
SHOW BOX “A TRIBUTE TO JEAN-CLAUDE VAN DAMME”
mini flat screens or small monitors