(est un magasin de vĂŞtements)
About ceci was founded in 2012 and is a Brussels based non disciplinary artistic project by Maaike Gottschal (NL, 1973), Miriam Rohde (DE/BE 1974) and Sara ten Westenend (NL/BE, 1978). ceci provides a working environment to collaborate beyond our individual trajectories and professional backgrounds (visual arts, architecture, textile, writing and teaching). ceci allows us to exchange and share our interests and make them available to each other. Ideas resonate in different ways. Collaboration doesnâ&#x20AC;&#x2122;t mean necessarily to develop one single perspective. With ceci we take into account the existence of our diverse, different, sometimes opposing or contradictory, sometimes complementary viewpoints and invent formats to give them a material appearance and presence.
Magic Tricks, Urban Tactics, Hotel Charleroi, Marchine du Pont 2013 Silkcreen with erosive (iron) self made ink Magic Tricks Urban Tactics addresses the impact of stories, narration and clichĂŠs on inhabited/urban space.
Boutique june - november 2012, Brussels
The Boutique was a project developed and realized during a six months residency in an empty shops in the Brussels neighbourhood Schaarbeek. It was provided by nadine VZW, laboratory for contemporary art. We set up a boutique without clothes which we used as an environment for theoretical and practical artistic research. What did we do? 0. What kind of a place is a boutique without clothes? 1. Setting up the ‘boutique’ Clearing the place completely. Claiming ‘this is a clothes shop’. Waiting for clients. 2. Starting the business. Trading (our) clothes against clothes (of our clients). Repairing zippers, shortening trousers, taking more clothes from our clients. Waiting for more clients. 3. Taking stock and making lists. How many shirts, skirts, trousers, dresses? Under- and swimwear must go. How many square meters? How many doors, lamps, nails in the wall? How many visitors, clients, window-shoppers? How many languages? How many pieces is a suit made of? A jacket? A collar? Pants? 4. Starting the production. How do you work? An artist, an architect, a fashion designer and two anthropologists are showing movies to each other. What do you make? A public discussion between and about people and things. 5. Collaborating. Photographer Stephan Keppel has a look at the ‘boutique’ and the neighborhood. 6. Selling out (all must go) Liquidation Total: 78% Sweater, Perpetual Inventory (in order of appearance), Destination Shirt n°1, Bleu pas d’Ici, Proposal Shopping Bag I-IV, Mirror Swap I&II. 7. Organizing an evaluation: Round-table-discussion between and about people and things. With the participation of Iniy Sanchez (fashion-design), Rotor (architecture) and Various Artists (visual art). Perpetual Inventory (in order of appearance)
Bleu pas dâ&#x20AC;&#x2122;ici 50% organic cotton, 50% secondhand curtains August 2012
I The front panels of the shirt are made out of a printed fabric. The print is a depiction of a landscape. The image extends over the whole cloth width and the frontpanel of the garment lengthwise. The print is executed in a specific colorrange, in a technique correlating to pointillism. The landscape consists of three parts, a foreground, a middle part and a background. These parts: bottom/ ground, central perspective/ horizon, culture, and sky or sea. There are no human figures representations of animals are allowed. Further possible elements are flowers (in the foreground), trees, buildings, ships (middle-ground), clouds, waves (background). The depiction is not realistic, due to the applied technique; lines and sharp contrasts have to be avoided, colors and shapes blend as smoothly as possible into one another. The print radiates an atmosphere of dreaminess, solitude, quaintness and introspection. It does not evoke a real landscape but rather an imagined one. There are no signs of contemporariness. There is no wit, humor or irony to the depiction.
II white light-green peach-pink-orange mauve violet fir-green ochre light-blue brick-red grey dark-grey
III The Landscape-Top-series today comprises 7 pieces. All shirts are based on the same cut, the back-panel is always the same. The front panels are made of fabric that has been found in three different locations. Each panel complies with the description above. Further shirts can be produced by a) coincidentally finding a piece of fabric that correlates to the description b) commissioning a designer or artist to make the illustration based on the description and print it on fabric Once the stock is exhausted the finding of new fabric will be completely dependent on the description.
Destination Shirt 100% organic cotton, one size August 2012 Images on the next pages of destination shirt and after 8 months in situ
60°43’20.00’’N - 46°2’25.00’’W - before
The Destination Shirt is a series of plain cotton t-shirts. You can chose one out of various destinations where after purchase your shirt will be deposited in the wilderness for the duration of 8 months. All destinations are outside of Europe. In a small brochure you will find a short description of each spot with details about the most important characteristics such as information about the local geology, geography, flora, fauna and climate and, additionally, some general information about the impact of humidity, uv-light, heat and acidity on cellulose and cotton. Local partners make sure that your Destination Shirt will be deposited precisely at the chosen spot, picked up from that same spot 8 months later and delivered to you. Please keep in mind that the exposure of the garment might have a visible and probably irriversible impact which eventually even might lead to its destruction or loss. At the moment we have deposited Destination Shirts in Jaboticatubas BR, Tlalpujahua MX, Lijang CHN. We have received Destination Shirts from Fjallabyggd IS and Alma CA. Read the brochure
78% Sweater 100% lambswool, unisex, one size August 2012
78% Sweater is a work which challenges logic because it is both, a finished product and an incomplete object. The “78% Sweater” has been developed during a research about the notion of completeness as a final stage of a process of production. Such a process is generally thought of as linear and chronological. Interrupting it accordingly leaves the object in a state of non-completeness. The “78% Sweater” is a work which challenges this logic because it is both, a finished product and an incomplete object. The chronology of the process is destabilized and the narration becomes ambiguous: is the sweater not finished yet (i.e. was the second sleeve never produced) or was it finished and has the second sleeve been removed afterwards?
Image; 78% sweater worn during Liquidation Totale 2012 Brussels.
Liquidation Totale November, 2012, Brussels For our closing event we we invited the public in our ‘boutique without clothes’ in Schaerbeek/ Brussels. Everything that will be present during the six hours of the shop’s opening is or has been subject to our working process. During six months this place was a tool for us to put things - such as clothes, the neighborhood, a dysfunctional water-tap, various languages, a shop-window and many more - at our disposal, Liquidation Totale was a way to hand these things on to the public, although probably in altered states.
price value virtue worth Besides our own contributions (78% Sweater, Perpetual Inventory (in order of appearance), Destination Shirt n°1, Bleu pas d’Ici, Proposal Shopping Bag I-IV, Mirror Swap I&II ) we showed a series of photographs by Stephan Keppel. Shopwindow Quote by Gerard Reve, Het boek van violet en dood.
A Discussion Between And About October 2012, Brussels
Discussion between and about people and things. Round-table-discussion with the participation of Iniy Sanchez (fashion-design), Rotor (architecture) and Various Artists (visual art) about the relation of people and things
How Do Things Take Shape March 2018, Brussels
IMAGINE TO HAVE ATTENDED THE DINNER AND IMAGINE THE DINNER TO HAVE BEEN ALMOST EXACTLY WHAT YOU HAVE IMAGINED. HOW CLOSE ARE EXACTLY AND ALMOST EXACTLY ? AND HOW FAR IS ALMOST EXACTLY FROM NOT AT ALL ? In March 2018 ceci invited a group of colleagues, artists, designers, writers to join us around a dinner table for an evening-long encounter with the question ‘How do things take shape?’. The stage for the event were several rooms in the Maison des Arts in Schaerbeek. The boundaries between the informal and convivial setting of the dinner and ceci’s performative and scenographic interventions were left consciously ambiguous. What has been given shape? What do we assign shape to? What remains shapeless, unremarked in the background? The guests: Alexis Gautier (visual artist), Ann Goovaerts (collaborator nadine), Christel Vesters (curator, writer), Elle (monk, teachter), Ernst van de Hoeve (editor magazine McGuffin), Hedwig Houben (visual artist), Hilde Bouchez (design researcher, teacher, writer), Laetitia Gendre (visual artist), Loes Jacobs (curator), Sanny de Soete (art historian, damask specialist), Sara Seijn Chang (visual artist), Stephan Keppel (photographer), Various Artists (visual artist) Ikat yarn: White linen handwoven textile. Made from a gift of Mr. Matsueda. We tried to trace back the hidden image of the bal and made new work with it. The absent guest : Christoph Hefti (artist) was interviewed by ceci after the dinner had taken place The contributors : Sanny de Soete provided the antique damask table linnen from Queen Emma of the Netherlands, Bruno de Wachter (writer) read his short story “Paradise Valley and the End of the World”. The witness: Stephan Keppel, photographer, accompanied the evening with his camera. His pictures are the only material traces of the evening. The cook : Christian Töpfner The menu : 1. oysters and champagne 2. transparent fish soup with chopsticks and shell 3. eggs of all kinds of chickens in various colours and sizes, cauliflower, potatoes, white sauce 4. vegan hot hot chocolate with cognac, marshmellows and a story in the dark + original “venice” coca-cola, white and red wine and water. images B/W by Stephan Keppel
Een mooi huis staat niet aan het moeras December 2020, Miriam Rohde Full text on request. ....In huizen waar water stroomt, weten we waar dat water stroomt, omdat specialisten het op hun plannen precies zo hebben vastgelegd. Het water verplaatst zich door buizen, passeert machines, apparaten, daarvoor voorziene onderdelen van het gebouw. Naar binnen het huis in, en naar buiten het huis uit, vloeit het door leidingen, door de lei- dingen heen de afvoer in, waarna het verdwijnt. Het circuleert in huis, voortdurend en gecontroleerd. Buiten deze gesloten kringloop bevindt het zich mogelijk in kuipen, tonnen, bekkens, vazen, misschien zelfs in een zwembad. Ontsnapt het water uit deze kringloop of reservoirs, dan moet worden ingegrepen. Het lek wordt opgespoord en gedicht, de plassen opgedweild, de overstroming weggepompt. Aan de opruim- werkzaamheden en droogprocessen kan nu begonnen worden. Vuur is het archaĂŻsche tegendeel van water. Het gecontroleerde vuur, de kachel, het kampvuur, het vuurwerk is een sociale verzamelplaats. Als het vuur buiten controle raakt en er een brand uitbreekt, is in de meest extreme gevallen snelle en totale vernietiging verzekerd. Branden verwoesten paradijzen, regenwouden, AustraliĂŤ. Re ding staat in de meeste gevallen gelijk met vluchten.....
..... Een selectie uit een steeds groeiend archief van tekstfragmenten met als thema waterschade die ik over de jaren heen enkel heb verzameld omwille van het plezier om de bijbehorende specifieke woordenschat; functioneel, maar grenzend aan vertwijfeling, precies, maar duister van toon en fatalistisch: tweegezinswoning, vreselijke ontdekking, schimmel tussen de eigen vier muren/schimmelsporen, schimmel die zich overal in de ruimte verspreid/geleidelijke groei achter kasten, onder gordijnen, in onbewoonde kamers/ donkere vlekken aan de muren en plafonds/water in minieme stroompjes, vocht in muren en vloeren/verse waterdruppels/het vocht zet zich door over verschillende meters buis/koperbuizen uit Oost-Europa en BelgiĂŤ visuele, lokale ook haptische en akoestische door afkloppen opgespoorde schade/ houten vloeren, houten plafonds, tegels, gietvloer, behang, beraping/ breek- en beitelwerken/beschermkledij en mondbescherming/ vakgesprekken/alles wordt fotografisch gedocumenteerd, om later alle elementen van het interieur weer op hun vertrouwde plaats te zetten. Zo hoeft het niet te gaan. De zogenaamde markt stelt tegenwoordig een gigantisch aanbod aan hoog gespecialiseerde bouwmaterialen ter beschikking. Deze beloven het indringen van water beheersbaar te maken, ja zelfs te voorkomen. Profieldoorsnedes van ultra moderne ramen doen denken aan complexe barokke of op piranesiaanse wijze naar het grote niets voerende plattegronden. Te koop zijn schuimen, stopverven, siliconen, zelfklevende strips; allemaal provisorisch ma- teriaal. Voor de bewuste klant zijn er ook ecologische alternatieven zoals ademende materialen in de aanbieding. Werden er echter al plastic ramen en hardschuimisolatie geplaatst, dan kan men beroep doen op de voordelige variant van de zogenaamde schokventilatie.
Zo kan zelfs in de winter, door middel van het openen van de ramen, elke kubieke meter lucht, vochtig geworden door mens- en dieradem, door kamerplanten, douchen zonder te verluchten, koken zonder de damp af te zuigen enzovoort, integraal ververst worden. Het is belangrijk om na de ingreep de kamers onmiddellijk weer te sluiten. Ondanks alle maatregelen blijft water een moeilijk te contro- leren element. Het heeft de neiging om bestendige, maar ongewenste want vernietigende verbindingen aan te gaan met wat volgens weste- lijke normen stabiliteit, bescherming en comfort moet bieden en wat doorgaans onder de noemer materiaal valt. Afdichten, afscheiden, indelen, segregeren, controleren is een sisyfusarbeid die tot obsessie kan leiden.
The Right Red April 2018, Maison des Arts, Brussels
Where things break - The Right Red Things that we fix must be broken first. Can a color break? or can it be repaired? Can you live in a world where things fall into one of these categories? Is there a right red? Can we learn from one color how we classify things and see the notions of repair and breakage from a different perspective? Through the masterclass, we will explore the color red from a symbolic, cultural and physical perspective and with our personal experiences of the perception of red. We take you along all the little steps on how to create (together) new vibrant red colours. Is there a right red? Can we learn from one color how to classify things and see the concepts of repair and fracture from a different perspective? * The workshop can be attended by color blind people or people with a visual impairment.
The Masterclass has been created with the help of nadine and Maison des Arts.
The masterclass consists of the following elements
Dye red Look for red Present red Describe red Produce red Do red/ red action Share red Create red
Book of Love Oktober 2020, Maaike Gottschal
Od. 5.59-62: “A great fire blazed on the hearth and the smell of cedar cleanly split and sweet wood burning bright wafted a cloud of fragrance down the island. Deep inside she sang, the goddess Calypso, lifting her breathtaking voice as she guided back and forth before her loom, her golden shuttle weaving ”
Book of love, 26 textile works. The works were made as a conclusion of my master’s at the Design Academy, which was all about technology, energy, innovation and connections. To see more of the body of look
The work is a declaration of love for language and expression in its widest form and tribute to the artist I love. Before there was written language, we used chants to memorize intricate weaving patterns. All techniques (arts, crafts), patterns and oral narratives are the foreland of our written language and connected to instruments that help us to express ourselves. We have a common language (Indo-European language family). And this common background lies in the actions we do (growing crops, eating, making, sharing and making love: create. The work is also historical correction. There were no female members and no weavers associated with De Stijl. For me this is painfull. In the modernization process too much has been neglected the importance of intuition, craftsmanship, connection, universal values and the obligations that this entails. I am sure that a female weaver could have portrayed this emphatically in Mondrian’s time.
Hi Piet, Hi Marcel. Can we have a talk? There is a small pistol aimed at our heads these days. And it is pointing back in time. Something might be not that wel translated, expressed. Maybe it’s a good idea to go back in time and see what went wrong. A missing thread. *“Techne” is a term, etymologically derived from the Greek word ‘texni’ that is often translated as “craftsmanship”,
“craft”, or “art”. “Techne” is a term in philosophy which resembles epistēmē in the implication of knowledge of principles,
N Poging Lithium, Tabby Weave III French: Lâ&#x20AC;&#x2122;art (art, craft) Latin: Novi (try) Sanskrit: (test) (breeze) Hindi:
Ola Linea, the Self-striping Stripe French: Baiser Sans Fin (endles Kiss) Latin: Intentus (to stretch out)
The Space Between Us French: La Double Vue (the double view) Latin: Spectatus (observe)
Dear Piet French: Croisement (crossing) Latin: Applicare (adapt)
Shoot Me French: Cidre Doux (sweet cider) Latin: Possum (plus)
Beam Me Up, Scotty French: Passage (passage) Latin: Excudere (print)
Little Pistol French: Pistolet (colt) Latin: Minus (less)
You Have To Stripe Your Ass to Make Good Art French: Verticale (vertical) Latin: Cuniculus (tunnel)
Thank You for the Music French: Paysage (landscape) Latin: Abstrahere (split)
6,14â&#x20AC;? French: Fil (thread) Latin: Vox (voice)
Mill French: Quatre Ficelles (4 Threads) Latin: Aeris (elements)
Whipped Cream Whisk Frech: Foyer (fireplace) Latin: Artis (trade)
Hallelujah (tabby weave I) French: Suture (stich, repair) Latin: Contextus (to weave, make love)
The Kick Inside (tabby weave II) French: Reliure Lin (plain weave) Latin: Technica (technique)
Lithium, Tabby Weave III French: Lâ&#x20AC;&#x2122;art (art, craft) Latin: Novi (try)
Come As You Are French: Toile (canvas) Latin: Prensatus (buttonhole)
Dear Marcel French: Les Règles du Jeu (the rules of the game) Latin: Transgressus (go)
Borderspace French: Dièse (sharp) Latin: Magnum Opus (first papers, sktechbook)
Second Voice French: Sans Paroles (without words) Latin: Expressus (express)
Agnes Was Right French: Tons Clairs (living colours) Latin: Patefactus (expose)
= French: Est (is) Latin: Veritas (true)
Dear Daniel French: Rayures Françaises (French stripes) Latin: Linum (linen)
Silver Lining French: Plaqué (plated) Latin: Lyra (poetry)
Who is afraid of red? French: Aération (aeration) Latin: Spiritus (breath)
Dear Marcel French: Détour (deviation) Latin: Adfectus (move)
In Praise of Shadows French: Trucs chauds (hot stuf) Latin: Invisibilis (invisible)
From This Star French: Le Vol (the flight) Latin: Spatium (act)
Dialogue June - september 2019, Sundaymorning@EKWC
Dialogue is an ongoing project by ceci that has started in 2019. The word dialogue has its etymological roots in the two Greek terms logos, meaning word and dia, meaning through. Our experiment in dialogue was inspired by the writings of the American scientist David Bohm. Instead of with spoken words we established a dialogue using material and objects.
“The dialogue; when one person says something, the other person does not in general respond with exactly the same meaning as that seen by the first person. Rather, the meanings are only similar and not identical. Thus, when the second person replies, the first person sees a difference between what he meant to say and what the other person understood. On considering this difference, he may then be able to see something new, which is relevant both, to his own views and to those of the other person. And so it can be back and forth, with the continual emergence of a new content that is common to both participants. Thus, in dialogue, each person does not attempt to make common certain ideas or items of information that are already known to him. Rather, it may be said that (they) are making something in common, i.e., creating something new together.” (David Bohm, On Dialogue). In the period of July until September 2019 ceci was a guest at sundaymorning@EKWC. We departed from an empty studio space equipped with a metal shelf, a table and a chair and took turns in working, one after the other, reading and reacting to each other’s contributions. During the three months working period we have not seen or spoken to each other. The communication between the three of us took solely place in the studio through the diverse material each of us chose to work with, be it clay, textile, the spatial configuration, text, sound and so forth. While accumulating, adding, taking away material, the lines between individual intervention and common dynamics got blurred. The concept or ‘score’ of the project is simple and will always remain the same: the initial situation is the wooden replica of the original shelf, the participating students work in turns and there is never more than one person at a time working with the shelf. What can be adapted to the circumstances are the number of participants and the duration of the working period. It can take the form of a one day workshop or a course of several months with extended program developed by ceci. The publicatuin of the procces.
DIALOGUE I November 2019, Sundaymorning@EKWC After creating the publication of our residency at EKWC we decided to build a wooden replica of the EKWC drying cabinet. This cabinet we used for a new setting; DIALOGUE I is a collaboration between ceci and Laetitia Gendre. It took place during one 16.11.2019 in sundaymorning@EKWC.NL. Starting from the wooden sculpture created during the original dialogue, we again took turns in reading each others interventions and reacting on each others contributions. DIALOGUE I was accompanied by Laetitia Gendre, who translated the changing situation into a series of drawings. Images made during Dialogue I
WE NEED TO TALK September 2020 Sara ten Westenend at nadine Brussels
An area where complexity and ‘not knowing’ is embraced. I believe such places are (becoming) rare. Entering requires commitment and openness.
This exhibition is part of a triptych. The first stage explores the idea of the sculpture as an area or space. A space that allows us to be present, without compromise, without polarization. Whoever enters is by definition invited to the next stage. The Dialogue: YOU, ME AND US Do you wanna sign up for The Dialogue? Yes? No? Maybe?
1. I have this desire steel 425x90cm 2. Sara Yes conversation 3. boldness ceramic, copper saturation, Froebel gifts facial contour of D.B.
4. YES NO MAYBE glass 10x 404x297x3mm 5. this is where we meet steel 425x220cm 6. Front of the solo exhibition “We need to talk” wood
In this first part, the exhibition wanted to explore the idea of sculpture as a space, or rather sculpture as an area of which the viewer is a part. Within the work I criticize the disappearance of so-called essential spaces. These areas allow to be present without compromise, but also without polarization. The exhibition could be seen as the physical or visual translation of such an area, where the setting of the dialogue is sketched without it having to take place. Whoever entered the room was by definition invited to the next step. The dialogue where the essential space is formed in language, in conversation, and again in physical presence, YOU, ME AND US
Voice November 2020, Rotterdam How do things take shape? II; Voice.
Od. 5.59-62: “A great fire blazed on the hearth and the smell of cedar cleanly split and sweet wood burning bright wafted a cloud of fragrance down the island. Deep inside she sang, the goddess Calypso, lifting her breathtaking voice as she guided back and forth before her loom, her golden shuttle weaving” Ceci created a new setting in the Textielfabrique space for a live performance by sopran Lotte Bovi. Lotte used the context of textielfabrique and the input of ceci. The project was part of Charloisspeciaal. After the performance we did more sound recordings. The Soundscape that came out will be printed as LP and comes with the “Book of Love” by Maaike Gottschal. The soundscape uses weaving patterns as well as patterns of words and structures that are used in weaving as well as in music. You can listen to a small part of the upcoming a piece
ceci ceci was founded in 2012 and is a Brussels based non disciplinary artistic project by Maaike Gottschal, Sara ten Westenend and Miriam Rohde. ceci provides a working environment to collaborate beyond our individual trajectories and professional backgrounds (visual arts, architecture, textile, writing and teaching). ceci allows us to exchange and share our interests and make them available to each other. Ideas resonate in different ways. Collaboration doesnâ&#x20AC;&#x2122;t mean necessarily to develop one single perspective. With ceci we take into account the existence of our diverse, different, sometimes opposing or contradictory, sometimes complementary viewpoints and invent formats to give them a material appearance and presence. ceci gives us the opportunity to challenge our attitudes towards authorship and to keep reconsidering the question of how to do things together. We regularly invite artists for collaborations: a project of ceci can become the departure point for someone elseâ&#x20AC;&#x2122;s work. In turn, the work of ceci is reflected within someone elseâ&#x20AC;&#x2122;s project, which is both, independent and connected. Ceci wants to work in a way in which formulating and exchanging views, methods, discussions, misunderstandings and controversies are an essential part of our work. Because we see this process of reasoning and collective reflection as an integral part of our methodology, we want to organize public discussions, exhibitions and workshops to which guests, specialists are invited from the world of fashion, textile, art, design, science, economics etc.. The feedback from the other sharpens reflection and the permanent process of sharing and not appropriating, analogous to the open-source idea, provides an addition to information, which means an added value for the creation of a very diverse body of thought that only shared may arise.
Maaike Gottschal (1973 NL)
I am an artist, designer (Gerrit Rietveld Academy fashion design, 2 years Art History, Master Contextual design, Design Academy Eindhoven) and I’m an expert on the textile craft field. I studied all possible textile crafts (more then 7 teachers worldwide) by hand and by heart from my young years on. I saw them, touched them, studied the colors and techniques of making them. I have done in-depth research into the cultures that created them and the artists who were inspired by it. I worked as a producer, projectleader and concept developer for o.a. Droog design, Mediamatics and Casco. I founded Textielfabrique and give masterclasses in natural dye, weaving and many other textile techniques. www.textielfabrique.com
Sara ten Westenend (1978 NL/BE)
Since 2006 I have been working as a visual artist (HKU writing for performance, Gerrit Rietveld Academy text and image). From a curiosity and a great desire for a new language that is jointly created, I research different forms of dialogue. With this I try to untangle and confront subjective and objective relationships and attitudes. How do we create a new area where the complexity of being together and living together is not limited by polarizing thinking and acting, where complexity and “not knowing” are embraced? In addition to my artistic practice, I worked as an independent chef for various cultural institutions in the Netherlands and Belgium at openings, performances and festivals. www.saratenwestenend.com
Miriam Rohde (1974 DL/BE)
I’m a german architect, artist and teacher, living and working in Brussels since 2006. My artistic work focuses the material, immaterial aspects of space and spatiality and the ways these aspect influence our everyday lives. My practice is speculatory, meaning that I combine analysis and imagination, bringing together (and sometimes mixing) factual information with assumptions that could be true or false. Currently I am working on a research on absence and presence in space and experiments with short cinematographic representations of (built) space.I worked for Robbrecht en Daem architects, developed different workshops such as ’From Where We Are’ and teach at the architectural department of KU Leuven.