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ARTIST IN RESIDENCE POMPGEMAAL DEN HELDER 01.05.09 - 15.07.09

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RO HAGERS

A PERFECT CIRCLE SQUARE A ND ROUND


INDEPENDENT CONSTRUCTIONS Robert Goené 4

TABLE OF CONTENTS

DYSTOPISCHE UTOPIE Ro Hagers 37 COLOFON

57 4 12 17 26 30 36 42 48 54

IDEOLOGY METAPHRASIS - TERRITORIAL INDEX #1 - #4 GETTING RID OF STATIONARITY MONITOR AD INFINITUM PARALLEL CORNER INTERVAL MODEL FOR DIALECTIC RECYCLING GATELESS GATE THE PERFECT CIRCLE SQUARE AND ROUND

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VISUAL CURRICULUM MODEL FOR ABSOLUTE IDENTIFICATION


IDEOLOGY

INDEPENDENT CONSTRUCTIONS Robert GoenĂŠ We are surrounded by objects. Most of them are so common to us, are used or encountered at such a regular basis, that we do not pay much attention to them. Still, with the dominant role of the order of the object that we have created or at least given a specific use, objects seem to have an indeterminate nature of some kind. Some things come to as a surprise. Without any 4

A void / 2009 / Drawing / Calquepaper / 21 x 30 cm

IDEOLOGY


form of anticipation, we are confronted with things that we where not looking for. This is merely the effect of well-ordered surroundings that suddenly needs to be reorganized. Without the order, there would be no such thing as a surprise. We are unaware of many aspects of the things that surround us, although these objects are fully functional and cause us no trouble by having properties that we did not notice before.

Loophole near bunker entrance

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IDEOLOGY

Detail: Ideology / 2009 / Concrete triangle of pine cones burned by fire / 40 x 40 x 10 cm


Map of bunkers situated near the Pompgemaal

We can, if we really want to, keep on discovering new aspects of the things we take for granted. Both forms of indeterminacy have something in common. They are both the result of the limitations of our capacity to deal with our surroundings in an ordered fashion. We cannot know all objects, all of their functions or all of their aspects and are therefore confronted by the limitations of our capabilities on a daily basis. Still this is granted by our ability to give order. The surprises are given meaning in a split 6

Ideology / 2009 / Concrete triangle of pine cones burned by fire / 40 x 40 x 10 cm

IDEOLOGY


second, the aspects that we did not know about are accepted without any problems. Although we are limited creatures, we can understand each and every step of this. Indeterminacy of objects in this sense mainly characterizes the limitations of our cognitive capabilities. We can become aware of these limits with potentially every object, created by ourselves or products of nature. Our tendency to give order reaches it’s limits. That’s it.

Bunker entrance

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IDEOLOGY

Molding system / 2009 / Drawing / Squared millimeter paper / 21 x 32 cm


Guantanamo Bay

Our most common approach towards our surroundings is, I would say, the mode of understanding and ordering. The independent status of the world and the objects that it consists of are the result of our limited capacities to understand everything at once. Thing and world are conceptions which are the result of these limitations, but still granted by our understanding. We can put everything we encounter in a certain order, but we cannot do this at once. The understanding and ordering is never complete, we are 8

Fireproof shelter / 2009 / Drawing / 21 x 30 cm

IDEOLOGY


always prepared for something we did not grasp yet. Thing, as well as world, are commonly associated with some kind of indeterminacy, which is in common situations the result of our limited understanding. This indeterminacy serves as a limit. Not as something beyond our capacities, but as those things not yet understood. We are in principle able to understand all of this, we simply did not get that far. This makes the conceptions of thing and world depend on our limited nature. Not as

Bunker steel construction

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IDEOLOGY

Ideology / 2009 / Concrete triangle of pine cones burned by fire, trestle, multiplex, HPL / 100 x 100 x 70 cm


IDEOLOGY

2009


CONCRETE TRIANGLE OF PINE CONES BURNED BY FIRE, TRESTLE, MULTIPLEX, HPL

100 X 100 X 100 CM


METAPHRASIS - TERRITORIAL INDEX #1 - #4

something which we can fully understand, but as the intrinsical result of our capabilities. Indeterminacy is the result of our understanding, while this indeterminacy is never subordinated by our understanding. It is the result of our limitations. In the most common way of dealing with things, these limits play a central role, but always at the background. We are rarely confronted with these limits as such, but mostly with our understanding in progress, simply handling the steps we can take. 12

Metaphrasis - territorial index #1 - #4 / 2009 / Cut-out Piezo print, Hahnemühle German Etching paper / 12 x 12 cm

METAPHRASIS - TERRITORIAL INDEX #1 - #4


Surprised at some moments, but always geared towards understanding and order.

Table of Fortification, from the 1728 ‘’Cyclopaedia’’, Volume 1

Stepping out of this mode of understanding in which everything can find its proper place is not a daily activity. A large array of cultural phenomena are, I would say, aimed to break through this normal way of understanding. There are, however, chief differences between them, making more successful in this aim than others. 13

METAPHRASIS - TERRITORIAL INDEX #1 - #4

Metaphrasis - territorial index #1 / 2009 / Cut-out Piezo print on Hahnemühle German Etching paper / 12 x 12 cm


Snow crystal

In many cases, the limitations of our understanding are targeted directly by showing the possibilities of certain techniques employed. By showing small samples of the possibilities which these chosen techniques have in them, we can get excited about all these suggestions made. This is especially clear with strong technolo-gical oriented forms of expression. The experience of more possible experiences can be compared with the drawing of a small part of an ascending line. We can simply imagine that 14

Metaphrasis - territorial index #2 / 2009 / Cut-out Piezo print on HahnemĂźhle German Etching paper / 12 x 12 cm

METAPHRASIS - TERRITORIAL INDEX #1 - #4


the line will keep on ascending, if we just keep on drawing. This idea can be reached rather easy with even a small part of a line of infinite length. By applying a number of techniques just like these lines and suggesting what else will follow from this, we can get impressed rather easy. This impression can be achieved by every thing that pushes our perceptual and conceptual apparatus to their maximum by providing large quantities of impressions, which will inevitably give us the idea that there is more, much more.

Crystal - ortoclasio - From the Greek orthos – “right” and kalo – “I cleave” in allusion to the mineral’s right angle of good cleavage. (www.mindat.org)

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METAPHRASIS - TERRITORIAL INDEX #1 - #4

Metaphrasis - territorial index #3 / 2009 / Cut-out Piezo print on Hahnemühle German Etching paper / 12 x 12 cm


Crystal structures - monoclinic

wolframite

titanite

gypsum

augite

orthoclase

This experience is fully dependent on the possibility of understand each and every aspect. We are merely unable to do this at once. By focussing on this inability, we do nothing else than exposing the possibilities that can be grasped, if only we had the time to do so. The world that is is, however, of the same kind as our common day to day experience in which everything is properly ordered and some things need to be integrated in this order. We are confronted with the idea of more that can be 16

Metaphrasis - territorial index #4 / 2009 / Cut-out Piezo print on HahnemĂźhle German Etching paper / 12 x 12 cm

METAPHRASIS - TERRITORIAL INDEX #1 - #4


integrated. More and more impressions and associations. Simply more. This kind of phenomena did probably exist in all times, but it might be the case that we are currently confronted with an excessive number of them, especially in popular culture. The strong development of technological means has given rise to new forms of expression, that is clear, but it has also resulted in large amounts of products, which do nothing else than applying the technologies available and simply

GETTING RID OF STATIONARITY

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GETTING RID OF STATIONARITY

Separate but equal / 2009 / Drawing / 21 x 16 cm


The PoincarĂŠ disk is a model for hyperbolic geometry in whicha line is represented as an arc of a circle whose ends are perpendicular to the disk's boundary (and diameters are also permitted). Two arcs which do not meet correspond to parallel rays, arcs which meet orthogonally correspond to merpendicular lines, and arcs which meet on the boundary are a pair of limits rays.

Persuasion architecture / Drawing / Squared millimeter paper / 21 x 32 cm

exposing the possibilities given by them. There is a mature industry providing these tools and many happy customers producing within the given boundaries. The consumers of the products of these tools seem to follow this suggestion of more of the same by constantly consuming new products which are only modestly different and, more importantly, embody the same enthusiasm about the world of possibilities. There is not much difference between this way of producing and consuming cultural 18

GETTING RID OF STATIONARITY


phenomena and our daily way of dealing with the world. The economic principle of these forms of expression is clear. The exposition of possibilities offered by techniques ask for the production and consumption of this ’more’. There is a constant enthusiasm for more of the same. A mode of production which keeps itself moving.

Orthographic projection of 10-cube making the petrie polygon by Peter McMullen

In this technology driven production and consuming, there is not a fundamental difference 19

GETTING RID OF STATIONARITY

The merging of responsibility and desire / 2009 / Drawing / 32 x 21 cm


From geocentric to heliocentric model of the universe. Willamette Meteorite, New York Times,1911

with our daily way of dealing with things. The limitations of our understanding play a crucial role, but merely in the background, as a productive factor. Instead of referring to more of the same, the more interesting cultural phenomena seem to aim at something else. Not referring to something else, which is at the same time prescribed by the work itself, but by presenting a work as something which does not dependent on anything outside itself. This does not mean that we do not need a context 20

L: Getting Rid of Stationarity / 2009 / Coated multiplex, HPL / 200 x 200 x 5 cm - R: Monitor

GETTING RID OF STATIONARITY


to understand such a work. Of course we do. The independence is a different one. There is an internal complexity, resulting from techniques employed, which does not refer on ʝmore to come’. We are fully aware of the fact that everything can be put under a certain ratio. This is what we do in our daily life. To exploit this way of dealing with things in the sphere of cultural phenomena is making them a part of our daily lives, making them completely harmless. What we are

Social behavior may be controlled by radio stimulation of specific areas of the brain

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GETTING RID OF STATIONARITY

Detail: Getting Rid of Stationarity / 2009 / Coated multiplex, HPL / 200 x 200 x 5 cm


The master control for the whole body resides in the brain, and the new methodology of implanted electrodes has provided direct access to the centers which regulate most of the body’s activities. The brain also constitutes the material substratum of mental functions, and by exploring its working neurons we have the possibility of investigating experimentally some of the classical problems of mind-brain correlations. In addition to new answers, implantation of electrodes has introduced new problems: Is it feasible to induce a robotlike performance in animals and men by pushing the buttons of a cerebral radio stimulator? Could drives, desires, and thoughts be placed under the artificial command of electronics? Can personality be influenced by ESB? Can the mind be physically controlled?

Carefully / 2009 / Drawing / 21 x 15 cm

much less aware of is the other side of the same coin, the limitations of our understanding. It is, of course, not an easy thing to focus on. By merely suggesting more possibilities, we simply keep staring at the side we already know so well. Instead of putting everything we encounter in an ordering which can go on forever and which is in a sense independent of us, instead of treating everything we encounter as dependent on these orderings, we can turn things around. 22

GETTING RID OF STATIONARITY


Instead of focussing on the possibilities of the techniques, we can focus on their limitations. To make these limitations clear, we should put them up front and follow the directions that they lead us to in an uncompromised way. By taking them very serious and by forgetting ourselves in following the steps dictated by the techniques used. This might sound exactly like the conception we just dismissed. The difference lies the way the techniques are used. They can be used in a

Social behavior may be controlled by radio stimulation of specific areas of the brain (Jose M. Delgado - Physical Control of the Mind)

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GETTING RID OF STATIONARITY

Executive order / 2009 / Drawing / 21 x 32 cm


GETTING RID OF STATIONARITY

2009


COATED MULTIPLEX, HPL

200 X 200 X 5 CM


MONITOR

way which leaves us with a suggestion of arbitrariness of the techniques. It could have been replaced by something else. If this seems to e possible, the techniques have merely been explored, they have not been followed in an unconditional way. Only by radically following the steps dictated by the techniques themselves, without any free consequence-less associations, we can get to a point where the limitations of the techniques employed can become clear. 26

The merging of responsibility and desire #2 / 2009 / Drawing / Calque paper / 30 x 21 cm

MONITOR


Besides techniques, we also need materials. Only in the combination of the technique with the material, something can be produced. We can treat the techniques as something we can replace with another one. The suggestion of the unlimited applicability of this technique, as we have sketched above, not only treats techniques as arbitrary, it also gives the materials used a rather important role for the result. They are not arbitrary at all: using different materials would have lead to an essentially different product.

The Black Stone is the eastern cornerstone of the Kaaba, the ancient sacred stone building towards which Muslims pray. Some consider it to be a tektite or a meteorite.

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MONITOR

Monitor / 2009 / Coated multiplex, HPL / 22 x 22 x 2 cm


MONITOR

2009


COATED MULTIPLEX, HPL

22 X 22 X 2 CM


AD INFINITUM

The other way of dealing with the technique/material distinction – or form/matter if you like – is the treatment of the technique as necessary and the material as arbitrary. By taking some material and using this as the point of departure for following the steps dictated by the techniques applied, we also get to a different end result when we are using different materials, but it should be clear when we compare these results that the techniques and not the materials are the essence of the result. 30

L: Ad Infinitum #2 / 2009 / Pine cones / 100 x 100 x 20 cm R: Ad Infinitum #1/ 2009 / A0 Poster / 84 x 120 cm

AD INFINITUM


Fragmentation, arbitrary choices of materials employed, in combination with a very explicit way of employing techniques can show us something. It doesn’t provide an illustration of the things we already know so well, that we are limited beings, subject to our surroundings, but that we are in fact able to understand these techniques as being limited themselves. Experiencing that we are not only subject to the limits of our understanding and the further reaching possibilities, but can see the limitations

Experiment designed to determine whether humans possess a bio magnetic sense

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AD INFINITUM

Ad Infinitum #1/ 2009 / A0 Poster / 84 x 120 cm


Phase transitions: the conversion between three states of matter or material: Gas-Solid-Liquid

of these techniques and are in fact able to understand them as such. This cannot be achieved by simply providing a condensed version of our everyday experience. Januar 4, 2010

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Detail: Ad Infinitum #1/ 2009 / A0 Poster / 84 x 120 cm

AD INFINITUM


Pro-nuclear DNA micro-injection

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AD INFINITUM

Detail: Ad Infinitum #2 / 2009 / Pine cones / 100 x 100 x 20 cm


AD INFINITUM #2

2009


PINE CONES

100 X 100 X 20 CM


PARALLEL CORNER INTERVAL

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Detail: Parallel Corner Interval / 2009 / Coated multiplex, HPL / 130 x 100 x 5 cm

PARALLEL CORNER INTERVAL


DYSTOPISCHE UTOPIE Ro Hagers

Metastasis - score by Iannis Xenaxis

De sterke geur van kokos-zonnebrand oliefaktor 20 lokaliseert de her en der verspreidde zon aanbiddende lichamen op het kust zand van Den Helder. Het zijn de architectuur fragmenten in de vorm van half begraven bunkers en andere tekens die herinneren aan de gevechten die hier plaatsvonden in het omringende landschap en impliciet verwijzen naar de vele 37

PARALLEL CORNER INTERVAL

Echo / 2009 / Drawing / 15 x 17 cm


Polytope - score by Iannis Xenakis

lichamen – zonder kokosolie ­– liggend op hetzelfde strand maar dan gesneuveld in het spervuur in dienst van een toen heersende ideologie of oppositie daarvan. Nu, joggen gespierde mariniers in het duingebied rondom mijn tijdelijke woon- en werverblijf in het Pompgemaal, resoneren helikopters en schietoefeningen zijn onderdeel van het wekelijkse auditieve ruim. Het blijft een vreemd gegeven, simpel gezegd, dat vrijheid bij gratie 38

Notebook - Multiplication list

PARALLEL CORNER INTERVAL


van defensie en buitenlandse politiek bestaat. Veiligheid als preventieve verdediging, heeft tegenwoordig niet meer de vorm van een fort of een Atlantik Wall of scherp bewaakte landsgrenzen maar heeft naar mijn idee – als een implosie – de gestalte aangenomen van preventieve waakzaamheid over de persoonlijk grenzen van de burger. Moeten we als gemeenschap de definitie van vrijheid misschien herzien of ieder geval bediscussiëren, wanneer de morele ruimte – om goed of fout te doen –

Molten rock: lava

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PARALLEL CORNER INTERVAL

Detail: Parallel Corner Interval / 2009 / Coated multiplex, HPL / 130 x 100 x 5 cm


PARALLEL CORNER INTERVAL

2009


COATED MULTIPLEX, HPL

130 X 100 X 5 CM


MODEL FOR DIALECTIC RECYCLING

bij wijze gereguleerd wordt door de toename van veiligheid camera’s in de openbare ruimte en openbaar vervoer? Stel je met deze technische supervisie niet het menselijke oordeelsvermogen buiten spel? En ondermijn je daarmee niet de mede verantwoordelijkheid en betrokkenheid voor de gedeelde leefomgeving en medemens wanneer deze verbinding van toezicht buiten het persoonlijke om op een indirect, met het gevaar op termijn op een totalitair – Orwelliaans – niveau wordt geplaatst? 42

Study for Model for Dialectic Recycling / 2009

MODEL FOR DIALECTIC RECYCLING


Engeland telt tegenwoordig ruim 4.2 miljoen CCTV Camera’s, met een bevolking rond de 60 miljoen komt dit neer op één camera per 14 inwoners. bron: London Evening Standard

Magnetic fusion energy winding scheme

Temidden van het historisch gezien defensieve kustgebied van Den Helder en het door prikkeldraad hekwerk omgeven idyllische Pompgemaal; vraag ik mij af of mijn te ontwikkelen werk zich temidden van deze gedachten en omgeving, verzoenend kan opstellen of 43

MODEL FOR DIALECTIC RECYCLING

Studio view of the residency at Pompgemaal Den Helder


Ouroborus

juist de waargenomen dissonanten weergeeft of een uitweg kan bieden. Is het überhaupt mogelijk om tot een verzoening te komen tussen tegenstellingen. En kunnen deze worden opgeheven als een synthese of worden verheven: of reduceer ik hiermee het Andere tot het Zelfde en neutraliseer ik daarmee het potentieel van het krachtveld bestaande uit elkaars tegenpolen. Magnetisme bestaat uitsluitend door een combinatie van een pool en zijn antipool. Vergelijkend zou je dualiteit, het ‘niet-identieke’, 44

Study for Model for Dialectic Recycling / 2009

MODEL FOR DIALECTIC RECYCLING


subject/object, waar/onwaar, lichaam/geest, misschien op eenzelfde wijze kunnen zien; dat deze tegenstellingen nodig zijn om de ervaring van het specifieke mogelijk te kunnen maken. Het specifieke als het bijzondere wat zich onderscheidt, is wat mij interesseert en het kan zich op iedere mogelijke wijze – onopmerkzaam als een kameleon – voor mijn neus bevinden. Wellicht kan de euforie gevonden worden in opmerkzaamheid, welke ik onder andere via

The Ouroboros or Uroborus[1] is an ancient symbol depicting a serpent or dragon swallowing its own tail and forming a circle. The Ouroboros often represents self-reflexivity or cyclicality, especially in the sense of something constantly re-creating itself, the eternal return, and other things perceived as cycles that begin anew as soon as they end (compare Phoenix). It can also represent the idea of primordial unity related to something existing in or persisting from the beginning with such force or qualities it cannot be extinguished.

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MODEL FOR DIALECTIC RECYCLING

L: Model for Dialectic Recycling / 2009 / Polyurethane, PVC / 400 x 200 x 250 cm - R: Getting Rid of Stationarity


MODEL FOR DIALECTIC RECYCLING

2009


POLYURETHANE, PVC

400 X 200 X 250 CM


GATELESS GATE

mijn werk wil doorgronden. Opmerkzaamheid als niet vergelijkend denken staat haaks op het, vanuit evolutie ontwikkelde, herkenning gebaseerde waarnemen en leggen van verbanden. Het nadeel van dit zorgvuldig opgebouwde vermogensapparaat is dat we daarmee onbewust onze omgeving opdelen in stukjes en daarmee de ervaring in stukken hakken. In de Japanse Zen filosofie gaat men ervan uit dat de kern van het dualisme ligt in de taal; die gevormd van uit het denken, een conceptuele opsplitsing is van 48

Gateless Gate / 2009 / Coated multiplex, HPL / 40 x 40 x 2 cm

GATELESS GATE


de wereld om deze herkenbaar, hanteerbaar en communiceerbaar te maken. Het dualisme overstijgen of trancenderen zou gerealiseerd kunnen worden door de geest van de logica te doorbreken met onder andere de taal zelf. Waarbij de zen-koan, opmerkzaamheid in de vorm van een on-logisch gedicht, een belangrijk meditatie object vormt en kan dienen als impuls naar verlichting.

Cut fence repaired

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GATELESS GATE

Hole / 2009 / Drawing / 32 x 21 cm


The perfect circle square and round it strikes like lightning if you to look for it, you fail now it is hidden behind this gateless gate if you want to see it, look at it directly

The electro magnetic spectrum

Een cirkel kan in een formule gevat worden, maar kan je de omtrek van een perfecte vierkante cirkel met je geestesvermogen ook werkelijk volgen? Bovenstaande ‘koan’ van mijn hand vormt de basis van het werk Gateless Gate. 50

Study for Gateless Gate / 2009 / Drawing / Calque paper / 30 x 21 cm

GATELESS GATE


Een installatie met felle lampen en grind waar het op afstand gelijkende hekwerk met prikkeldraad bij nadere beschouwing oplost in een grafisch gedicht. Feitelijk ligt voor het dualistische verbale denken de perceptuele opsplitsing van de wereld in categorieĂŤn. De menselijke waarneming is dus van nature een dualistisch fenomeen. Gateless Gate, Hek zonder hek is ondanks zijn defensieve vermomming een positieve aansporing om te zien 51

GATELESS GATE

Four ways of looking at the Crab nebula. Special plates sensitive to particular colors and filters to block out other colors were used.

Detail: Gateless Gate / 2009 / Coated multiplex, HPL / 40 x 40 x 2 cm


GATELESS GATE

2009


COATED MULTIPLEX, HPL

40 X 40 X 2 CM


THE PERFECT CIRCLE SQUARE AND ROUND

zonder kijken, niet dit of dat maar dit noch dat; een nog behoorlijke onderneming dus voor de boeg! December 29, 2009

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The Perfect Circle Square and Round / 2009 / A0 poster / 84 x 120 cm

THE PERFECT CIRCLE SQUARE AND ROUND


Enigma rotor scheme

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THE PERFECT CIRCLE SQUARE AND ROUND

The Perfect Circle Square and Round / 2009 / BW-prints, wood, gravel, lights / 700 x 700 x 230 cm


Enigma: encryption and decryption machine

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Ideology / 2009 / Drawing / Calque paper / 30 x 21 cm

THE PERFECT CIRCLE SQUARE AND ROUND


COLOFON Met dank aan: Fonds BKVB, werkgroep binnenland ateliers en Steven van Teeseling voor de artist-in-residence en de bijdrage die deze publicatie mogelijk heeft gemaakt. Daarnaast wil ik het Amsterdams Grafisch Atelier bedanken, met name Erik Luermans voor de uitnodiging woordoor ik binnen het kader van deze publicatie de genummerde en gesigneerde bijlage ‘Model for Absolute Identification’ heb kunnen 57

THE PERFECT CIRCLE SQUARE AND ROUND

An Enigma machine is a electromechanical rotor machine used for the encryption and decryption of secret messages. The Navy codebooks were printed in red, water-soluble ink on pink paper so that they could easily be destroyed if they were at risk of being seized by the enemy.

The Perfect Circle Square and Round / 2009 / BW-prints, wood, gravel, lights / 700 x 700 x 230 cm


THE PERFECT CIRCLE SQUARE AND ROUND

2009


BW-PRINTS, WOOD, GRAVEL, LIGHTS

700 X 700 X 230 CM


CLEARING AWAY

2009


COATED MULTIPLEX, HPL, ALUMINIUM

150 X 200 X 10 CM


Exploiting the Mineral Wealth of a Suppressed Country / 2008 - 2009 / Mdf, nylon tape, transport blankets, coated multiplex, HPL / 160 x 220 x 40 cm

Black Angles / 2006 / 160 x 110 x 50 cm / Photo: Jens Ziehe / installation view: Larger than a House, Smaller than a Building, Cluster, Berlin, GER, 2008


Tunica Pneumatica #1 - #4 / 2007 / Coated multiplex, HPL / Âą 180 x 60 x 40 cm each / Installation view: Kunstsupermarkt, Stadsgalerij Heerlen, NL, 2007

Low Contrast / 2007 / Plexiglass, nylon tape / 230 x 50 x 20 cm / Installation view: Und, Croxhapox, Gent, BE, 2008


Ars Moriendi / 2007 / Coated multiplex, HPL / 220 x 150 x 110 cm

Unfolded Map / 2005 / Plexiglass, map: linen, paper, ink / 160 x 120 x 50 cm


Empty Erased Drawings / 2007 / Multiplex / Âą 100 x 30 x 30 cm each

Fragments / 2006 / Plexiglass, nylon tape / 260 x 70 x 50 cm


www.rohagers.nl

realiseren. En Christina Hallström voor haar nimmer aflatende assistentie. Robert Goené voor zijn inhoudelijke bijdrage. En tot slot veel dank aan Raf Vancampenhoudt voor het resultaat en zijn intensieve werkwijze. Druk: Sint-Joris, Oostakker (BE) / Oplage: 400 exemplaren Grafisch ontwerp: Raf Vancampenhoudt

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Model for Absolute Identification / 2009 / Screenprint / Numbered and signed edition of 40

MODEL FOR ABSOLUTE IDENTIFICATION



A Perfect Circle Square and Round