Guest Rooms

ƚWIETLICA — CRISTINA FERREIRA-SZWARC

PLACES

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NOTHING IS CONNECTED TO EVERYTHING; EVERYTHING IS CONNECTED TO SOMETHING
— JOANNA WIERZBICKA

STUDIO VISIT

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OBRA PARASOL
— CELESTE

STUDIO VISIT

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ARCH-ANGELICA

ARTIST’S NOTE · ANGELICA FALKELING

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PATTERNS NORM EXPERIENCES JUST AS NOISE MAKES NUMB
— JAKOB FORSTER

STUDIO VISIT

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FILTER FEEDERS AND ILL-MANNERED BODIES

EXHIBITION VISIT

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GIVEN CIRCUMSTANCES
— ANNA BOCHKOVA

STUDIO VISIT

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HOW CAN I CATCH MY OWN TEARS?
—SOPHIE UTIKAL

BODY SPACES

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FIX IT IN POST
—ZUZA BANASIƃSKA

EXHIBITION VISIT

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CALL IT A YEAR

GOODBYE 2020

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VOICES

ARTIST’S NOTE · ALA SAVASHEVICH

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HELL IS OTHER PEOPLE:
ON RECENT WORK BY SERGEY SHABOHIN

NOTE · ROMUALD DEMIDENKO

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THE ROOM OF LYOLYA YEFREMOVA

EXHIBITION VISIT

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HANDSTYLE GARDENING
—STAN D’HAENE

ISOLATION ISSUE

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VIN DIZEN
—LÉA PORRÉ

ISOLATION ISSUE

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AMALGAMATE
—SƁAWOMIR PAWSZAK

STUDIO VISIT

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SUPPORTS
—AGNIESZKA MASTALERZ

ISOLATION ISSUE

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SOLIDARITY AND AGENCY

EXHIBITION VISIT

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WAKING REST

TEXT · ALEX FISHER

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WINDOW, WHICH IS LOOKING
—NATALIA KARCZEWSKA

STUDIO VISIT

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THE KOCHETOV CUP RUNNETH OVER

TEXT · ALEX FISHER

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GARDEN CULT TRIENNALE

EXHIBITION VISIT

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RELAX REVOLUTION MOVEMENT
—ALFA OMEGI

STUDIO VISIT

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ME AMONG US, SPEAKING UP IS NOT ENOUGH — DELPHINE DEGUISLAGE

ISOLATION ISSUE

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KVARTIRNIK

EXHIBITION VISIT

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ON REINIS LISMANIS’ THRIFTY AND BEGINNING TO THINK ABOUT FRAGMENTARINESS

WORD OF MOUTH · TOM LAVER

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ROTATING DIAMONDS
—OLGA HOHMANN

ISOLATION ISSUE

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THE DULL FLAME
OF DESIRE —INSIDE JOB

GUEST ROOMS SPECIAL

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PILE
—LISA KUGLITSCH & ALEXANDRA PHILLIPS

ISOLATION ISSUE

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POWER PLAY
—KORNELIA DZIKOWSKA

ISOLATION ISSUE

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COMMUNITY
—DÉBORA DELMAR

ISOLATION ISSUE

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THE SINGING DUNES
—ZUZANNA CZEBATUL

EXHIBITION VISIT

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MOVING BACK FORWARD
—PRZEMEK PYSZCZEK

INTERVIEW · MAGDALENA ADAMECZEK

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MELODIES ARE SO FAR MY BEST FRIEND
—PRICE

WORDS by ONUR AKYOL

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VIEWED FROM ABOVE
—FLOR MAESEN

WORDS by LIENE AERTS

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GENERATION CONTRADICTION & MILLENNIUM FALL
—HRAFNHILDUR HELGADÓTTIR

GUEST ROOMS x COSMOS CARL

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WORD OF MOUTH

SORRY, I COULD NOT RESIST
—CLAUDIO PANTÒ

STUDIO VISIT

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WORD OF MOUTH ②

STUDIO VISIT with ELLA DE BURCA
WORDS by ALICJA MELZACKA
& PHOTOS by MAXIME GOURDON

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DIVINTION CARDS
—EMELINE DEPAS

GUEST ROOMS SPECIAL

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BITTERSWEET REALITY
—EMOTIONAL CHANNEL

EMOTIONAL CHANNEL's ANGELICA FALKELING and ANNA ƁUCZAK in an
INTERVIEW · MAGDALENA ADAMECZEK

Photos by Nick Thomas and Philipp Valenta

Albert Heijn is really more than just a grocery store. It is a lifestyle. It is a middle-class religion of constant accessibility. It is a dream come true, a quiet life, a family, a golden retriever in the comfy safe, clean and well-functioning house in the quiet neighbourhood, close to the central station... READ

WORD OF MOUTH ① NOTES FROM BRUSSELS’ WTC

STUDIO VISIT
WORDS by ALICJA MELZACKA
PHOTOS by MAXIME GOURDON

The plan to create a vibrant administrative centre has not been fulfilled until today. The WTC complex, despite downsizing from eight two three towers, has never reached it’s full working capacity. Even more, around 11% of office space in the district remains empty... READ

AFTER THE BODY

Obsessys: Objects fOr tOuching and talking
—DAVID BERNSTEIN

GUEST ROOMS SPECIAL
· Mar 17, 2018

David Bernstein, Obsessys: Objects for Touching and Talking, 2018, installation view.
Courtesy of the artist © GUEST ROOMS

Man-made creations of different shapes and textures are accompanying our lives ever since we are born. An intrinsic need of contact with rounded edges, artificial body shapes, skin-like textures or prosthetic objects lies in human early development. Why do we need to keep them close?

Obsessys are small sculptures for touching and talking. They take influence from 'Playing and Reality' a book by a paediatrician and psychoanalyst Donald Winnicott written in 1971. Winnicott provides extensive interpretations based on his observations of relations with possessions manifested by babies and young children seeking for instruments and devices from their early developmental stages.

DAVID BERNSTEIN (*1988, San Antonio, Texas) is an artist based in Brussels and Amsterdam. He combines performance, sculpture, and writing to tell stories through objects. An important part of David’s practice is to create haptic objects that become activated through storytelling and touch ●

NOT TITLED YET
—BENJAMIN VERHOEVEN, MARIE-FLEUR LEFEBVRE, MATHIAS PRENEN, WIM DE PAUW

STUDIO VISIT
· Mar 3, 2018

PHOTO by MATHIAS PRENEN, detail © MATHIAS PRENEN, 2017

The market has given up the space, inspiring its transformation into a studio. There, a gathering of same-generation artists takes place, using different techniques as they pursue their research. From painting through sculpture and assemblage to video and photography, each artist, rooted in one technique, cultivates an open attitude that cross-pollinates each other‘s media. A constructive emulsion grows up through discussions exchanging invisible waves circulating time by time through the entire garage, as organic treasures in a cave.

GUEST ROOMS invites you to Auderghem, Brussels where four artists —BENJAMIN VERHOEVEN, MARIE-FLEUR LEFEBVRE, MATHIAS PRENEN, WIM DE PAUW — moved their work into a large former Volkswagen showroom and its adjacent garage ●

Fausse Alerte
—MARIE-FLEUR LEFEBVRE

GUEST ROOMS SPECIAL
· Dec 11, 2017 — Jan 6, 2018

Marie-Fleur Lefebvre, Untitled (Fausse Alerte), 2017, installation view
Courtesy of the artist © GUEST ROOMS Marie-Fleur Lefebvre, Untitled (Fausse Alerte), 2017, installation view.
Courtesy of the artist © GUEST ROOMS

Loosely set upon a marble fire place. A piece of black cloth and a screen, that lightens them from the other side. They are physical remains of rituals and at the same time escape the connection to another mental dimension created by transparent matter.

The ‘skin deposits’ as MARIE-FLEUR LEFEBVRE calls her sample works, come from her performative-painting studio practice. We present and rearrange them in the course of reading sessions. The artist works with painting, drawing, sculpture and photography. Her recent work was presented at Waldburger Wouters and Komplot in Brussels. She studied in Ecole Nationale SupĂ©rieur des Beaux-Arts de Paris (studio of Jean-Michel AlberolĂ ) and is the laureate of HISK Higher Institute of Fine Arts in Gent (2014–2015) ●

Abstract of the Self

READING GROUP
· Dec 11, 2017

Marie-Fleur Lefebvre, Fighting Is Embracing, 2017
Courtesy of the artist

‘Flying’ by ADRIAN PIPER (1982) comes as a continuation of reading sessions unfolding in the new temporary location of GUEST ROOMS in the bustling area of Saint Gilles in Brussels. The text follows a previous series ’The Mythic Being’ created by the artist between 1972 and 1975, addressing multiple issues around race and gender. It is also about the abstraction of the Self, through the embodiment of a stereotype persona. Piper is a conceptual artist and philosopher specialising in Kant’s philosophy, and especially his ‘Critique of the Pure Reason’. Piper’s philosophy and artistic practices are intertwined. After having worked within Conceptual Art, she developed her practice regarding the issues of feminism, race and xenophobia, especially in the United States. ’The Probable Trust Registry: The Rules of the Game #1-3’ presented at the Venice Biennial 2015 addressed broader issues of humanist utopias.

The reading is introduced by HÉLÈNE JACQUES who graduated from Curatorial Studies program at KASK School of Arts in Gent following her studies in Art History at the UniversitĂ© catholique de Louvain, where she focused on Adrian Piper, whose body took a central position in the artist's own work since the beginning, and later on, when it increasingly removed itself, giving the space for the spectator's body.

We would extend our thanks to ADRIAN PIPER, APRA Foundation, Berlin ●

After the Body

READING GROUP
· Nov 27, 2017

GUEST ROOMS unfolds in the bustling area of Saint Gilles in Brussels with the series of reading sessions. For this very first meeting, we focus on a text 'Dehumanisation through Decomposition' coming from the recent book 'Necros: An Introduction to the Ontology of Human Dead Body and Remains' by a Polish historian Prof. EWA DOMANSKA (Adam Mickiewicz University at Poznan, Stanford University). Her teaching and research interests include comparative theory of the human and social sciences, history and theory of historiography, ecological humanities, genocide and ecocides studies. In her book, she offers a post-anthropocentric and ecological perspective on life after death, posing questions such as: When a human being ceases to be able to recognise the dead body as a human body? What can the remains, considered as organic collective subjects, tell about the multispecies identity, relational subjectivity and community of organic matter? How do changing social and cultural norms, such as rising ecological awareness, influence the approach towards the remains?

The reading is introduced by a body researcher GAJA KAROLCZAK, alumna of Science of Performative Creativity in Malta and Rome, and a.pass program in Brussels, where she inquired into the nature of phantomic sensation through somatic approach, now dealing with alternative education modalities and communities co-creating meaning. She co-founded Sense of Movement Foundation and co-leads Grupa Samoczytająca reading group in Poznan. Currently also a practitioner of Structural Integration.

We would extend our thanks to Prof. EWA DOMANSKA who chose one of her texts for our reading session. ●

PROLOGUE

Meet Me at The Metro Station

GUEST ROOMS PROLOGUE with GHISLAIN AMAR, SIMON ASENCIO, FRANCISCO CAMACHO, NICHOLAS GRAFIA, HRAFNHILDUR HELGADÓTTIR, ANNA ƁUCZAK, GREGOR RĂ“Ć»AƃSKI, LIGA SPUNDE, SUSAN PIETZSCH & MIHO SHIMIZU, BEATA WILCZEK, ANNEMARIE VAN DEN BERG
· Mar 4-10, 2017
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Hrafnhildur Helgadóttir, Millennium Fall, Meet Me at The Metro Station, Amsterdam Heemstedestraat, 2017, exhibition view © GUEST ROOMS

Stay at home. This is where your job is. Technology made this possible, you lucky one! — says a leaflet lying on the table — Never set a foot out of this palace of leisure labor. No, you don’t want Swedish corporate products. You detest the smell of exploitation. It's not what you want to see. You are willing to bring on that extra cash for a more ethical and clean experience. No regrets ●