2014-2015
4 illuminated signs,
Variables dimensions,
from 20x40x10 to 85x70x10cm
Aluminium, Plexiglas, LED
4 printed booklets,
from 52 to 80 pages
A5 size
Groter, Nieuwe, Prix reduit, Toute nouvelle is composed of 4 illuminated signs, each shape results of a billboard implantation site in the Brussels’ region. Each sign comes with a booklet containing statistical data and iconography about the location. The title is composed of generic injunctions currently found in ads, both in flemish and french, the two main languages in Brussels.
The lightboxes are scaled down at 1% of the initial billboard implantation site sizes. Therefore they possibly become shop signs - a smaller scale. There is a link between billboards, that sell advertisement spaces and supermarkets, that sell the promoted products.
The booklets contain data such as the total advertisement surface, the advertisement surface visible simultaneously, the taxed surface according to the municipality policy, the surface used for their implantation, etc. This work reflects the economy of advertisement as well as the politics and administrative uses of urban space. And it more recently starts to question the plasticity and the obsolescence of the packaging themselves.
The work Groter has been selected has the recipient of The Annex Collection Acquisition Award. The work is part of The Annex Collection, London. UK since November 2017
The pieces have been shown during The Foreseen Project exhibition 'Bruit & Fluctuation', Brussels. 2015
I worked in an advertising agency.
I hate advertising.
My experience led to a constant interest in the study of urban and commercial trickery – also known in French as roublardise. To reveal the economical construct of urban contexts, I use the effectiveness of commercial strategies against itself in a tautological and often parasitic manner. To a further extent, my practice tackles the aesthetics of bureaucracy, entrepreneurship, and efficiency through relational, situational, and contextually specific works, self-reflecting upon the economy of artistic practice in a production-driven society.
works
Long Days (Short Days)
It’s a rat rat’s world
Autoroutes Sauvages
Laatste Ronde
FREE COFFEE** NO SMARTPHONE FOR ETERNITY
Kunst_planten
Towards a new domesticity
SUMMER
Le temps ne brûle pas
Billboard advertising falls on top of two cars during strong wind weather
TikTok vs Abramovic
archive
Days of our Lives
La Tonnelle Universelle
The Opening Super
D.D.-DOMESTICA DOVE
FREE COFFEE*
Enseigne liquide, Goudron lumineux
Groter, Nieuwe, Prix réduit, Toute nouvelle
Markten
The cow, the riot and the kid
Auvent, évente
I hate advertising.
My experience led to a constant interest in the study of urban and commercial trickery – also known in French as roublardise. To reveal the economical construct of urban contexts, I use the effectiveness of commercial strategies against itself in a tautological and often parasitic manner. To a further extent, my practice tackles the aesthetics of bureaucracy, entrepreneurship, and efficiency through relational, situational, and contextually specific works, self-reflecting upon the economy of artistic practice in a production-driven society.
works
Long Days (Short Days)
It’s a rat rat’s world
Autoroutes Sauvages
Laatste Ronde
FREE COFFEE** NO SMARTPHONE FOR ETERNITY
Kunst_planten
Towards a new domesticity
SUMMER
Le temps ne brûle pas
Billboard advertising falls on top of two cars during strong wind weather
TikTok vs Abramovic
archive
Days of our Lives
La Tonnelle Universelle
The Opening Super
D.D.-DOMESTICA DOVE
FREE COFFEE*
Enseigne liquide, Goudron lumineux
Groter, Nieuwe, Prix réduit, Toute nouvelle
Markten
The cow, the riot and the kid
Auvent, évente