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Call for projectsread moreclose
In the period of 2017 - 2021, Lokaal 01 Antwerpen will host yearly 5 new art projects. These projects will be developed during work periods that last a maximum of 5-6 weeks, according to the needs of the project.
Lokaal 01 Antwerp offers selected artists a project space of about 150 m2 and provides a basic living accommodation and a small production budget. Following each work period an exhibition takes place. Moreover, during each residency a public talk with the artist at work is being organized. We provide assistance during the pre-production of the work period, according to the needs of the project (material production, logistics, information research, etc.). As a post-documentation we publish a yearly catalogue in which all interesting information on the finished projects is gathered.
Although our project and exhibition space is one of our most important assets, we also encourage projects that act beyond the borders of our exhibition space and institution.
When formulating the motivation of your project, please try to situate, on your own terms, your artistic practice and the project itself in relation to a wider context of urgency and relevance (in terms of - for instance - society, power, capital, etc.).
The application needs to be sent as zip file, containing:
1 pdf with:
- contact details
- motivation / Artist Statement
- project proposal
1 folder with:
- documentation of work of the last 3 years, with a maximum of 15 images.
accepted File type: JPG only
maximum size: A4 or 1000 px
image resolution: 72 DPI
- documentation list on pdf (Reference list to the images; Include the title, date, medium, dimensions, and a brief description of the work)
(Normally it should be fine. In case your application is more than 9 MB, please only use wetranfer.com for sending via uploads.)
Applications can be sent by email only, to firstname.lastname@example.org
Lokaal 01 Antwerp is a centre for contemporary art, located in a former garage building, close to Antwerp Central Station. Originally founded as a dependance of Lokaal 01 in Breda in The Netherlands, the artist's iniative in Antwerp gradually evolved into a centre that facilitates experimental research and presentations by contemporary artists.
Wicked Gameread moreclose
Karina and Karina cover Pipilotti Rist (I am a victim of this song) covering Chris Isaak (Wicked Game)
Vincent van Velsen on Nicolas Lamasread moreclose
We call the Theoretical Space for thoughts, driven by and constructed during our projects, ThRu.
From 2015, this space will be used again! Thru has for years been the place that is used for reflections by various writers. Vincent van Velsen is our new year editor. His predecessors include Erik Hagoort, Jellichje Reijnders, Sofie Van Loo and Christophe Van Eecke.
Vincent van Velsen wrote a text in response to the work period of Nicolas Lamas.
Opening and presentation BLOOMSread moreclose
Blooms takes the form of a conversation which attempts to describe dominant modes of value, in order to consider the roles which produce our knowledge of objects, art, raw material, precious material and monuments.
Blooms could be considered a set of states; an emergence of materials and transitional phases. The gallery space functions as a repository of raw materials, a collection of objects and a set of value allocations. A selection of materials display movement and transformation as well as implicitly describing spatial bounds; the contents of a given building and the political position of a structure. Such organisation contemplates the accumulation of materials and objects at museological sites and the access given to extensive and inordinate sized collections. The inventory mode is the basis of a set of methods for apprehending and communicating the essence of an object – its materiality, history and value – which demonstrate a spectrum of ontological dispositions towards matter.
Speculation and assessment proliferate around geological matter. Metallurgic companies continuously advance the cycle of material change and reuse, exploiting material already in circulation rather than relying on deposits in the strata of the earth, transforming material which has been exhausted into a renewed subject. The inherent mutability of materials obscures the accrual of histories and energies which imbricate within their substance. Materials withhold the physical effects and conditions of the world – they exemplify the molecular and the molar – their surfaces and compositions become evidence of battles, events and weathering. What is the fate of the stories solely witnessed by inert matter? The processing and sintering of materials, through the core states of matter and the intermediary stages of transformation, renders matter indistinct – matter as ongoing, an internal force in flux.
In this context, the materials which constitute an object can only be articulated in parts. We have to approach each object part by part. Within a display, objects and materials appear in unrelated details, manifested in new terms. In the museum context, conservators and restorers will attempt to retard or conceal the processes of transformation, excesses of damage, deterioration or change. The objects rely upon age and attachment to place, the retainment of good material condition and the reflection of their makers and owners. The hermetic impulse seizes objects from the world to present them in safe holding, satisfying a tendency towards looking and the production of discrete orders of knowledge.
The organisation of a display would seem to apprehend a set of objects and capture their properties through high definition photography and meticulous textual descriptions of condition and provenance. But materials and images break down and lose resemblance in time. Documentation becomes abstract when its referent no longer exists. History may be inherently written into material but that material can change form; filtered, extracted, melted down or recast, with no distinguishable trace of the original or its function. The connections between materials and history enter a sort of fugue; objects and value judgements intersect becoming of one another, sharing fathoms of time and action.
The Indefinable Journeyread moreclose
Janna Crombez, Koen Deprez, Ine Van de Velde, Laura Schippers invite you to join them on a journey to an unknown destination. From € 79 per person.
Central starting place at the Red Star Line Museum, Montevideo 3, 2000 Antwerpen, www.redstarline.be
On a normal trip one chooses to travel from A to B and is the destination and the period known in advance. With The Indefinable Journey the four tour guides will retrieve these specific drive down.
The focus of the final destination is removed, it is like a pilgrimage that leads to nowhere.
There will be only stopped occasionally in order to prevent that one could become attached to certain places.
The trips are not prepared, there's no spectacle or danger.
It's an attempt to realise a void.
The only data which are certain are the different departure dates.
Check the travel brochure or order your copy via email@example.com (also for more information - the brochure is only in Dutch available at the moment, sorry)
+32 (0)3 / 334 80 66
Eikelstraat 25 / 2500 Berchem
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- linksKarina and Karina cover Pipilotti Rist (I am a victim of this song) covering Chris Isaak (Wicked Game)