encyclopedia

> Borremans

ARMEE LEGER (crox 162-crox 163, januari 2006). Collages. Neemt ook deel aan de sequel van BASICS 2 in Abdij Maagdendale. Dit keer met een kleine, scenografische module: onder een kleine stolp staat een miniatuurfiguurtje; buiten de stolp bevindt zich een tweede figuurtje, een dame in een gele jurk; ze zwaait naar het figuurtje onder de stolp. De module heeft een ingebouwde lichtbron.

crox 51, Open Deuren. Locatie 53 (>Lauwaert, Beatrijs).

Second solo project June-July 2006, Dwelling Field, synchronous with projects by Debra >Tolchinsky, Dianna Frid, Sarah >Westphal and >Jamez Dabramski Dean. Publication of crox-card 35 (Dwelling Field) and crox-book NR 3: Borders (ISBN 90-76593-O4-3). 

Crox-card 33 shows a still from the video Dwelling Field (2005); a litany of quotes.

Extract from Borders: Neither remembers the push nor the fall, except that the bridge receded into the horizon and, as we passed through the water crust, the sun, sounds, and the distant figures faded. More than anything else we remember that underneath the water nothing was sharp. 

Very quickly we found ourselves sitting on top of a large rock discussing death. Although we were young, we knew that we were filling with water and that we were dying. By all accounts we recall this new environment as quite pleasurable and as a consequence one of us wished to stay and die, while the other hoped to explore the land again. 

I was the one that wanted to stay. She asked me if her face looked pale. I told her it did not, although it did. She did not believe me and so she said nothing else. Without an answer I looked around some more. I was so amazed that everything was so quiet and soft death did not seem so awful or even finite for that matter. Gradually my eyes looked back at her. I had wanted to talk some more. But she began to rise. I panicked. Instantly I was frightened by my surroundings, I had never been without her. I was suffocating. I could not be without her. It was just one second, maybe two, that I grasped her ankle and rose to the surface to face the woman on the bridge. 

The last thing we remember is that the sun had faded, the air was cold and our lungs were filled with the Allegany River. (p. 38-40)/  

NOTARY PUBLIC. The following documents were included in the second crox project by CarianaCarianne, crox 182 (June-July 2006):

AFFIANT STATEMENT/ (regarding: terrorism)/ State of Illinois/ County of Cook. Article X: Prevention of Hostile Acts and Consequences Instead of defending a territory of soil or hoping to dress a street lane with my name, I walked the path that leads directly West. Out my front door, I began walking after the imagination of my heart all to dig a hole and bury the hand that has so much power to bear my sign. (this 27 day of August 2005)

AFFIANT STATEMENT/ (regards to: self-preservation)/ State of Illinois/ County of Cook. Article V, section 2: Jurisdiction and Biography I do not fully understand what it means to breathe - to draw air. I do not know exactly what it means to remember - to draw an image./ Regardless of what creates me, and rather BECAUSE of what creates me, I intend to battle my own preservation. (this 24 day of August 2005)

AFFIANT STATEMENT/ (regarding: biography)/ State of Illinois/ County of Cook/ Article V, section 1: Jurisdiction and Biography Walking to retrieve the mail from the carrier, my eyes saw. My eyes recorded something. I tried to be without need of situating such a thing. (this 24 day of August 2005)

AFFIANT STATEMENT/ (regards to: not governing another)/ State of Illinois/ County of Cook/ Article II, section 2, item a: Structure and Composition of Relational Authority My mind spins as plain-clothed realities rush in. It is within these moment that I uncontrollably struggle with the common car and the subsequent car pools, car accident and car jackings. I know that I am rational because I want to continue. I feel that I might find liberation for the body as it might reside in the uncontrollable spinning but I stop. Bound by one skin, I can not force her with my curiosity. I step back. I stop the loud voices and the ticking clocks. I slowly become anchored again and accept the auto industry as it clearly passes before my living room window. (this 24 day of August 2005)

AFFIANT STATEMENT/ (regarding: formulating individual politics)/ State of Illinois/ County of Cook/ Article VI, section 1, item b: Powers and Responsibilities I retrieved dental records from Dr. Bocks office. Since my birth was not recorded, the attached x-ray shall take the place of a birth certificate. With a jaw outstretched, this shall be the first image of my life and the last image that can confirm my death. (this 1 day of September 2005)

AFFIANT STATEMENT/ (regards to: volition)/ State of Illinois/ County of Cook/ Article II, section 3, item a: Structure and Composition of Relational Authority It was not so long ago that I sat down for broth made from sooks instead of opening the door and dying in the snow./ I remember sitting for hours with forearms resting on the wood, being still and taking small sips. Sitting there with my secrets, hands had circled my hollow shell, warming my back./ It was then that I know how to survive. I was then that I know how not to die. (this 1 day of September 2005)

AFFIANT STATEMENT/ (regarding: participation)/ State of Illinois/ County of Cook/ Article IV, section 1, item a: Withdrawal Peace records exist amidst war./ I stand here quietly waiting knowing that I am confronting my death. (this 8 day of September 2005)

AFFIANT STATEMENT/ (regarding: right to express frontiers)/ State of Illinois/ County of Cook/ Article VII: Human Rights and the Rule of Law With my finger extended into space, I drafted an image of myself. At most this line left no scar and, at least, the physical drawing lacked longevity for symbolic representation./ In accordance with the Universal Declaration of Human Rights, Article 19:/ Everyone has the right to freedom of opinion and espression; this right includes freedom to hold opinions without interference and to seek, receive and impart information and ideas through any media regardless of frontiers. (this 4 day of October 2005)

crox-archief /alfabetisch: catalogi en aanverwanten

2017 - De gazet van de toekomst. SPTMBR - Ed. 2005 /www.2017.be/
ACADEMY, learning from art - Ed. MUHKA 2006
Adler, Gosbert >Creative Camera
Affirm identity - Ed. C. Parlato 1997
A maze of Complicity. Luca Buvoli, Dianna Frid, Anton Vidokle - Ed. YYZ, Toronto 1996
Artothek 1973-1998 - Ed. Freunde der artothek Köln 1998
Artothek 2000 - Ed. Freunde der artothek Köln 2001
Artothek 2001 - Ed. Freunde der artothek Köln 2002
Artothek 2002 - Ed. Freunde der artothek Köln 2003
Artothek 2003 - Ed. Freunde der artothek Köln 2004
Arttaste - Ed. Toohscmi 2005
Aus der A.R. Penck Klasse: Elke Baulig, Thomas Böing, Andrzej Cisowski, Antje Dorn, Michael Goldstrass - Ed. Galeria Zderzak, Krakow 1991
Awater - poëzietijdschrift, zomer 2009. Blz 24-26: Johan Joos /crox-boek 12: Majuskel/
Axis - Ed. Tra-Mundi 1997
Bauhaus. Died Brijs, Stefaan Dheedene, Steve Van den Bosch, Alexander Lieck - Ed. de Warande 2000
Böing >Aus der A.R. Penck Klasse
Certamen Unicaja de Artes Plàsticas. IV certamen - Ed. Unicaja 1998
Certamen Unicaja de Artes Plàsticas. V certamen - Ed. Unicaja 1999
Chronischen akut 1 - Ed. Schrattenberg 1997
Ciao! Kaskweek 2006 - Ed. Hogeschool Gent 2006
Collectie Vlaamse Gemeenschap. Aanwinsten 1999-2001 - Ed. Vlaams Ministerie van Cultuur 2005
Creative Camera. Carol Maund, Gosbert Adler, Rupert Sheldrake, Esko Männikkö - 1996 issue 341
Croxhapox 1990-2000 - Ed. Croxhapox 2000
De Barricade. Emmanuel Depoorter, Maud Vande Veire, Erwin Wittewrongel, Pieter Bauters, Robin Vermeersch. Ed. Kunst-Zicht 2004
De genese van het beeld - Ed. Opbouwwerk Ijzerstreek 1994
De Piste in. Larsen Bervoets, Jonas Binon, Lennert Bouwens, Michiel De Jaeger, Michel Petré, Steffie Van Cauter - Ed. Hogeschool Gent 2005
Dheedene, Stefaan >Bauhaus
Dienst Kunst-Zicht. Jean-Jérome D'Hoorne, Valérie Capillon, Nell Donkers, Tanja Barczuck, Peter Bondewel, Leen Steurs, Achim Biebouw, Omar Lachgar - Ed. Hogeschool Gent 1997
Disidencias - Ed. Sala Siglo 21, Màlaga 1999
work shown in croxhapox in 1995
Dorn >Aus der A.R. Penck Klasse
Doubrawa, Reinhard. Auf meinem Weg ins Paradies. Salon Verlag Koeln 2007
Doubrawa, Reinhard. News. Salon Verlag 2004
En Passant - Ed. Croxhapox 1991
Extra - A biannual magazine on photography, Summer 2009
Fashioned - Ed. White Box NY 1998
Foto+ - 60e jaargang NR 6, juni 2005 >galeriemanie: galerie croxhapox
>work shown in croxhapox in 1997
Herkunft? Gosbert Adler, Tina Barney, Richard Billingham, Anthony Hernandez, Fazal Sheikh - Ed. Fotomuseum Winterthur 1996
Het trage vuur - tijdschrift voor Chinese literatuur. Nr 24, Leiden december 2003
Horse DeLuxe - january 2010 /www.flickr.com/groups/horsedeluxezine/ 
Identi /3/ - Filip Naudts, Tanja Vrancken, Guy Voet - Ed. Prov. Museum voor fotografie 1997
In het teken van de stier - Ed. de Warande 1994
Inmiddels 1 - Ed. Croxhapox 1995 (croxkrant, gelimiteerde editie)
Inmiddels 2 - Ed. Croxhapox 1996 (croxkrant, gelimiteerde editie)
Janus 15/03. Sound and vision - 2004 >p.56-59: The Singing Painters
Jonge kunst uit het Gentse: Ria Bosman - J. Boutelegier - Vincent de Roder - Ignace De Vos. '93 - Ed. C.C.St.A. 1993Kruispunt klank kruispunt beeld - Ed. Hogeschool Gent 1995
Kunstbeeld. Galerie jaarboek 1997 - Ed. Kunstbeeld 1997
Kunst en Zwalm - Ed. Boem 2006

Kunstgids 2003 - Ed. Ministerie Van de Vlaamse Gemeenschap & DWR 2003
Kunst nu. Andreas Brehmer, Johan De Wilde, Servi van Grinsven, Hendrik Vermeulen - Ed. Vereniging van het S.M.A.K. 1999
Kunstpreis Robert Schuman - Ed. Villa Vauban (Luxembourg) 2003
Kunstruimte Kampen. 47 projecten 69 kunstenaars - Ed. Stichting Kunstruimte Kampen 1996
Lokaal 01 - Ed. Lokaal 01, Antwerpen 2006
Mycose NR 19 - janvier 2007
Once lost Once found Now exposed - Ed. Front Hengelo 1998
On very special brief occasions - Ed. Flacc Genk, EI Gent, Voorkamer Lier 2002
Open Deuren - Ed. Croxhapox 1996
Over FORK gallery - Ed. Witte Zaal 2000
PerTWEE - Ed. Hogeschool Gent 1999
Picto(s) - Ed. Iselp 2006 >werk van o.a. Gregory Decock
Pop mix volume 1 - Ortsbegehung 2. Gabriele Basch, Claudia Hart, Thomas Hauser - Ed. Neuer Berliner Kunstverein 1996
Praktijkboek voor tentoonstellers - Ed. Kunstwerk(t) 2006
Rood gekookt - Ed. De Brakke Grond, Amsterdam 1996
Station 2 Station - Ed. 2002
Stille schilders. Mario De Brabandere, Ilse D'Hollander, Ignace De Vos, Alex Michiels, Maryam Najd - Ed. Caermersklooster 2003
Tat-Ort. Gosbert Adler, Antje Dorn, Friederike Feldmann, Thomas Hauser, Kryptische Konzepte, Detlef Lemme, Markus Strieder - Ed. Kunstamt Kreuzberg, Berlin 1996
The Turner Prize 1996. Douglas Gordon, Gary Hume, Simon Patterson, Craigie Horsfield - Ed. Tate Gallery 1996
Tongues of fire - Ed. Arnhem Institute of the Arts/Kunstakademie Düsseldorf/Koninklijk Museum voor Schone Kunsten/Hogeschool Gent 1997
Units - Mobiel tentoonstellingsproject - Ed. Kunst in Huis
Von Haus aus. Gudrun Emmert, Juliane Heise, Markus Hutter, Kordula Klose, Susanne Moll, Heinrich Roemlein, Michael Vorfeld - Ed. Produzentengalerie, Kassel 1993
Wolff, Renate >Zwischen den Weltenâ
Young artists (selected by) Luk Lambrecht - Ed. Witte Zaal 2002 /Stijn Cole, Eva De Leener, Hadelijn Dewilde, Isabel Ginneberge, Kadiriya Elma, Lieven Leurs, Tynni Oorlynck, Vadim Vosters, Karel Wouters, Josine Timmer/
Young artists (selected by) Philippe Van Cauter - Ed. Witte Zaal 2005 /Christophe Engels, Nick Ervinck, Johan Gelper, Isabel Ginneberge, Ruben Kindermans, Fien Muller, Merlyn Paridaen, Marie Snauwaert, Kim Vandaele, Maud Vande Veire, Lotte Van den Audenaeren, Linda Van Neck, Hannes Vanseveren, Tim Volckaert, Vadim Vosters/
Young artists (selected by) Hans Martens & Mieke Mels - Ed. Witte Zaal /Maité Bailleuil, Youri Cruypeninck, Charlotte De Groote, Wouter Feyaerts, Charlotte Lybeer, Lotte Van den Audenaeren, Brecht Van Wynsberghe, W.I.J., Karel Wouters/
Young artists (selected by) Dirk Pauwels - Ed. Witte Zaal 2007 /Hallveig G.K. Agustsdottir, Steven Baelen, Jonas Drieghe, Johan Gelper, Tinka Pittoors, Annelies Tyberghien, Pieter Vanden Broecke, Peter van Loon, Karen Vermeren/
Zie Tekening - Ed. Voorkamer vzw & Lierse Stedelijke Musea 2004
Zone of risibility. Wendy Hirschberg e.a. - Ed. The Rotunda Gallery 1999
Zuster S, begina. Kunstenaars & begijnhoven - Ed. Liers Genootschap der Letteren & Voorkamer Lier 2002
Zwischen den Welten - Ed. The Korean Culture & Art Foundation 1999

Chang, Nan-Ping (Taiwan) Crox 149, 30 september en 1 oktober 2005. Soloperfermonce 444.

Fragmenten uit een tekst over 444: /444 is een solo dansperformance. Het basisidee verwijst naar een van de meest stuwende doch destructieve menselijke eigenschappen: hebzucht. Veel van de dagdagelijkse bewegingen en ondernemingen zijn het gevolg van een streven naar resultaat, een materieel gewin of het gevoel dat men zich verrijkt heeft./

/Een tweede thema speelt in op de steeds hogere eisen die aan het menselijk lichaam worden gesteld als esthetisch object./

/444 is een eenvoudige voorstelling qua opzet. Een danseres beweegt zich in een kale ruimte, de aandacht wordt op deze manier volledig op haar lichaam gericht/ voorzichtig en behoedzaam verkent ze de ruimte/

/geleidelijk aan vertoont ze vreemde gedragingen/

/ingrijpende >metamorfose/ transformeert in een varken/ In deze fase neemt het instinct het over van de ratio en wordt de persoon op het podium één met haar driften ( ) die zich vertalen in een primitieve, dierlijke bewegingstaal. Het geheel komt gewelddadig en rauw over./

/Wat aanvankelijk een weerzinwekkend tafereel (is) krijgt meer en meer een status van schoonheid, van vrijheid./

/Na deze dierlijke fase komt een meditatieve passage./ (>naakt) beweegt ze bezwerend,/

(klaarblijkelijke oosters/

/Tijdens de >performance worden er tevens slides geprojecteerd die detailbeelden van lichaamsdelen tonen. Aansluitend op de voorstelling wordt een kortfilm geprojecteerd./

March - June 1990 - Chronology

5 March 1990: the first floor of Beverhoutplein 7 (Sint-Jacobs Gent) is empty

15 March 1990: Installing 'art machine' (crox 1).

16 March: Hans paints the word croxhapox on the windows of Beverhoutplein 7. Un chien Andalou in Studio Skoop.

19 March: Edwin Carels takes pictures of 'art machine'. This series of pictures is, documentwise, the only relic of crox 1, and, apart from an early portrait of Frank en Hans the only photographical relic whatsoever of the early days of croxhapox.

27 March: crox 2 opens. Paintings by Hans van Heirseele. From the époque of the second series of still lives, oils, brushed roughly.

1 April: Ignace De Vos is the only visitor on that day.

2 April: the name croxhapox is replaced by 'upground'.

4 April: 'upground' is replaced by croxhapox.

10 April: crox 3 opens, 'Roest rust' assemblages by Edwin Carels. Hans finishes the wall painting on the first floor and manufactures the signboard.

12 April: 12 visitors.

13 April: visiting the workspace of Daniël Vandenbrande.

17 April: unanimous decision to start a VZW [non-commercial foundation]. Guido has a change of heart after he initially opposes the foundation of a foundation. From that moment on he will be a pain in the ass. He will only contribute from time to time. Hans and FF draw up a schedule.

26 April: crox 4 opens and Hugo De Leener doesn't turn up.

3 May: visit at the workspace of Michaël Borremans.

7 May: crox 5 opens, works by Peter Vandekerckhove.

10 May: visit at Johan Joos' workspace.

11 May: "schrappen wat niet past" [delete as
appropriate], the 1st poster-campaign takes off. Ghents inner city is flooded with the crox logo. The campaign consists of three posters positioning croxhapox as an artistic concept. Most of the oneliners are coughe up by Guido.

17 May: workspace visit at Annick De Zutter's.

20 May: crox 6 opens, works by Andre Posman.

28 May: the local copper urges us to remove the blue signboard from the facade. Hans removes the blue signboard.

29 May: The blue signboard is after all put up again.

A day of prospection, without apparent result.

4 June: crox 7 opens, drawings by Daniël Vandenbrande.

August-October 1994 - chronology

1 August: Basement of Aannemersstraat 54 becomes vacant. Perfect opportunity to restart croxhapox. Kristel digs the idea. Guido remains sceptical.

11 September: Herr Seele commits to a solo project at the end of October.

13 September: Registered letter to the 'Staatsblad' [Belgian statute book].

14 September: Postal package from Guido with second version of funding. Wallpaper of the basement is removed and the walls are cleaned. The signboard regains its honoured place. At the moment no idea how to design the lighting.

15 September: Walls smoothed out and treated with solarine. Primed.

16 September: A call by FF.

17 September: Croxhapox revisited. Direction - Spot. White walls and carpentry.

19 September: New bank account and a pile of remittance forms. Meeting - Kristel, Guido, Bram. Dotting the i's. Guido thinks 4 projects a year are the limit. 

22 September: Erik begins installation of the lighting in the basement. Halogen spots are hung from a system of tubes.

27 September: Message from the Staatsblad. Herr Seele informs that he doesn't have the time to design the invitation.

28 September: FF considers to be standby.

29 September: Refurbishing of the basement kitchen. Invitations copied, A4-ish.

3 October: Stamps, 1000,- BEF. Dirk Peers promises to do a solo project.

4 October: Sandpapering of the tubes for the lighting. A coat of red lead to finish.

5 October: Bill from the electric shop addressed to Axoproxk. Contacting Olbrich. Guido is aggravated by the way things are going.

7 October: We have 1 patron, Lucien Posman.

8 October: 4 crox-cards are published. Call by Wouter Cox, something about the font they would like to use for Barbabelge.

9 October: Mailing of a statement to selected papers and magazines. Poster OK. Copying on 180g paper excluded.

12 October: Seven patrons and a preliminary total of 4600,- BEF. Final touch woodwork.

14 October: Herr Seele says Fabian will arrive with the paintings on Sunday.

16 October: A droll misunderstanding. Master obviously suffers from some hypertrophy of the ego. Difference of opinions on the selection. Too much immature work, is what we think. Final commitment by Dirk Peers.

17 October: To fetch two works by HS at Michiel Hendryckx's. Breakfast table, a cup of joe.

18 October: MH has three more self-portraits by HS. Guido tried 200grams paper for the crox-cards and doesn't have enough time. 10 paying patrons.

20 October: We order a set of drinking glasses at Rogge. Guido vetoes, he thinks the early work of HS below standard.

22 October: Bart and Surrender bring five bottles of white wine. The are a week early.

23 October: Fabian brings another small piece by HS.

24 October: Already 8400,- BEF of donations. Danny Dobbelaere from Het Volk [Dutch-language Belgian newspaper].

25 October: De Morgen [Dutch-language Belgian newspaper] publishes a version of the press text, edited by EB.

26 October: Guido angry about the article in DM. Some repairs. Booze, wineglasses and tankards. At Studio Brussel there is a short item about HS and Croxhapox. Erik tackles the kitchen. L'Atalante by Jean Vigo on television.

29 October: Opening crox 22, fifty-odd visitors. The photografer of Het Volk waits for HS till 10 p.m. HS arrives only at about eleven and almost immediately takes off again. Dirk De Neef introduces us to Patricia Smith, a New York artist.

September-November 1996 - chronology

2 September: Press text for De Morgen, Het Volk and AVS [local television station]. Karien, Dirk Braeckman, Ignace De Vos, Wouter Cox and Thomas Mistiaen. Johan Neyt doesn't participate. Installation window project halved - Onderstraat 51 no longer available.

3 September: Visit of the workplace of Dirk Peers. Appointments with Dirk De Neef, Johan Van Roy and Koen Vercaemer.

4 September: Meeting with graphic designer. DP moves to Tienen - under surveillance. Decision on the locations for Beatrijs Lauwaert, Philippe Vandenberg and Michaël Borremans.

5 September: Luc Van Soom and Wim Delvoye on the phone. A package of Thomas Hauser in the mail and a letter from Rumiana Popova. Het Volk informs us that they will publish a 'drop'-article. De Morgen also, says E. Bracke. Evening meeting about the Indonesia-project of Tramundi.

6 September: Prepress affiche becomes 9 September.

8 September: Kristel busies herself with the design of the brochure. In the evening on location in Wolterslaan, with  Theresa De Smet and Philip Vermeulen.

9 September: Merlyn & Adriaan agree on a gig during opening crox 50. Appointment with Dirk Braeckman. Meeting with Philip VB.

10 September: AVS. Invitations crox 50 and Open Deuren dispatched. Extra press messages for AVS and Eric Bracke. Layout brochure almost finished. Location Scheldestraat 71 no longer available. Adapt. Two new locations: Scheldestraat 55 and Wolterslaan 119. PVB parasitizes. With Thomas Mistiaen prospection of a location in Bouwmeesterstraat.

11 September: Noordstarfonds considers sponsoring. Early afternoon: fetching works of Johan Van Roy. Build-up crox 50. A call from Lucy Slock. Evening appointment with Philippe Vandenberg. We dine in Ornek.

12 September: Paul Gees informs us he can't participate. Positive advice from the department of culture of  Stad Gent. Regine C from BRTN culture desk. Communication with PVB below freezing point. Build-up exhibition Johan Van Roy and appointment with Krist Demasure. Quote from Sint-Joris Merendree [printer's]. Peter D, Mieja D and Wouter C. Marc De Clercq on location in Wolterslaan. Short working meeting with PVB.

13 September: Karel D calls off. Second mailing of invitations. Appointment with one Colette from AVS. Reportage and interview Wednesday 25 or Thursday 26. Sint-Joris Merendree - printing will be with one support colour. Call from Koen Brams. Later Marc De Clercq and Michaël Borremans. Meetings with Dirk Braeckman and Peter Lein postponed till tomorrow. PVB drops in in the evening.

20 September: Interview by phone with someone from De Gentenaar. Poster run of 250 copies, print. Deadline layout brochure missed by a hair's breadth.

21 September: MacDonalds from Dendermondse steenweg donates 5.000,- BEF.

22 September: Kalken, In Den Bouw. In Wetteren a project by Tom Jooris, at Bart Baele's home. Danny vandenbossche agrees to give the opening speech. Extra sponsoring from Bakkerij Bacaert and Frituur Cathy.

23 September: Sint-Joris Merendree. Call from AVS. Later Gilde De Bal w/r/t project of Ignace. Somebody from Het Volk. In the evening fetch work of Robert Clicque. Marc De Clercq.

24 September: Definitive breaking up with PVB. Intolerable opportunism. Fax message from the press- and newsdesk of VTM [Dutch speaking Belgian commercial television]. Purchases for the installation window of Ije: board, white acrylic, plastic foil and neon lamp. Bart Maris agrees for a concert on Saturday. Sunday also ok. Invitation opening, 500 copies. Appointment with Michaël B. Locatie of Dirk B - Scheldestraat 70.

25 September: Ije Raaijmakers, Koen Vanderhaeghen, Dirk Braeckman. At 10am Jan Blondeel and the crew of BRTN [Dutch speaking Belgian public television]. Visit the houses of Korzakov, Vincent de Roder, Michaël Borremans, Karien Vanderkerkhove and Philippe Vandenberg. At half past two the crew of AVS. Appointment with Anneke and Thierry. Ruth. In the evening Yves and Christin.

26 September: Fetch work of Dirk Peers in Kortrijk. AVS: item in the news.

28 September: Solemn opening of Open Deuren > OPEN DOORS. Speech by Danny in the doorway of Aannemersstraat 54. Act by Kamikaze in the basement. A crowd. Estimated 500 to 600 interested.

29 September: Like yesterday, 600 interested, more or less.

30 September: Frank, Kristel - informal meeting.

5 October: A rainy day dag. New series of oil paintings. In spite of the rain still several hundred visitors. In the evening Huize Jacobus.

6 October: Approx a thousand interested. Impressive. 

7 October: Interview with Veerle Vogelaere of De Gentenaar.

8 October: Article about OPEN DOORS in De Gentenaar.

11 October: Appointment with Czech artist Jaroslav Koran. Installation window in Serpentstraat. JK hardly prepared.

13 October: Vernissage of solo-project at Galerie Devos in Aalst.

14 October: Jaroslav has an alternative proposal.

15 October: video of crox 50. In the evening out with Jaroslav Koran.

17 October: Installation window JK is a disaster. And one of the most expensive at that. Evening at Gosbert and Antje's.

26 October: Get Thomas Broadbent at Zaventem. One Rolle C with a portfolio.

28 October: Installation window in Onderstraat, work by Nicoline VS.

29 October: With Thomas B from Gent to Calais. Rough ride at sea. TB demolishes the glove compartment. Rooms in Gower Street. On the Soho tour we end up in a jazz club. Concert by Cedar Walton. Tom snores like a pig.

30 October: Turner Prize 96 in Tate Gallery. Douglas Gordon. An alternative non-profit place in North Londen. Afterwards Covent Garden.

31 October: Rain rain rain. From Londen to Oxfordshire. Sublime landscapes. Marlow, Steirmett - a winery, Park Corner, Henley on Thames. Oxford, boring. We continue to Winchester.

1 November: Winchester, Petersfield, Arundel Castle. Brighton, Newhaven. The cliffs near Beachy Head. In Dover control by customs. Then Calais. We reach Gent at 10pm.

Zwartezusterstraat 1 - juli 1991. Hugo Claus wandelt in de Zwartezusterstraat. Op het gelijkvloers van huisnummer 1 hangen alle exemplaren van het Copy Art Project voor de ramen. De voorzitter van croxhapox vzw heeft zijn werktafel vlak voor het raam straatkant. Het raam staat op een kier. Claus houdt halt voor de gevel van Zwartezusterstraat 1, bekijkt de affiches en stapt vervolgens richting Oude Houtlei. Een half uur later komt de gevierde auteur opnieuw aanstappen. Dit keer heeft hij het gezelschap van een jongeman in donker kostuum. Beiden houden heel even halt voor de ramen van huisnummer 1.

Croxhapox, wat is dit? vraagt Claus aan de jonge kompaan. O, zo'n vereniging die lokale helden steunt zeker, antwoordt deze (in de zalen van het onbekende, een vloer aanvegen, ook).

crox 99, October 1999. crox 123, September 2004. Photography. crox 99, the show with works of the, at that time unknown, photographer Marc Coene is the last Aannemersstraat-solo under the artistic directorship of Hans van Heirseele. Coene's photos get their strength from the remarkable framing which turns them into fascinating and equivocal icons, emphasised by the stringent technical constraints he imposes upon his art.  He uses, for instance, a camera of type Agfa Isoly, a typical 50's product.  Those camera's (Isoly and Isola or Isolette) are common: the lens is usually of a redoubtful quality and results in significant loss of light, especially under bright circumstances. Light and brightness can hardly be adapted. Coene exploits these technical limitations to attain an almost abstract image quality. Less is more. The images obtain a dark poetics.Spurious exposures turn into monumentous moves. The photos acquire the imagery of Celan, recalling what has yet to come.

crox 123 (September 2004). A series of barite prints. /LAN/ and a series of recent colour prints. Perfomance: Those Metal Boys with their Metal Toys.

crox 202 (March 2007). Barite prints. Publication of crox book NR 6, LAN. Again a preformance of Those Metals Boys with their Metal Toys.

crox 118. MC starts documenting the crox-projects. End 2004 he joins the Algemene Ledenvergadering (Member Assembly). At the same time he designs the first version of the digital crox-encyclopedia and gradually includes a mass of images in it. Later on, he archives the loads of visual material, not just photos but also videos, at www.video.google.be and FlickR. Gradually develops into a forceful and diligent collaborator.

Participates in "Verzamelwoede" (2007, Abdij Maagdendale).

Joins the Board in Autum 2007 as treasurer. Coördinates, with Frips, the WHAT ABOUT CROXHAPOX project (crox 186), a  mailart call. The project actually happens between early July 2006 and end September 2007. At the end of 2007 the project is presented in the crox-space.
Coordinates a crox-television /video material of practically all projects/ at Google Video and You Tube.

Publication of croxcards 76, a Paris étude, and 77, the mongrel (2008).

Participates in Zennestraat 17a rue Zenne (May 2009), a coproduction with a.o. Secondroom, Fortlaan 17, Les Bains Connective and Constant VZW at a warehouse in Brussels. The crox-selection consists of: Johan De Wilde, Alda Snopek, Christophe Lezaire, Steffie Van Cauter, Julian Moran and Marc Coene.

1 November 2009: parttime employee of Croxhapox, responsible for documentation and archive, website maintainance and logistic support.

Opening speech crox 53. The team (actually Hans,
Kristel and Frank) already decided (see working meeting 8 August 1995) to give
the opening speeches a more experimental format. For crox 53 (Gosbert Adler, October
1996) Hans van Heirseele manufactures a speech consisting of a tape recording
and two superposed layers of text. The tape (a) is recorded in the atelier in
the garden where a grand piano was available (the instrument was later moved to
the loft of Michaël Borremans): prepared piano/ wooden objects on strings
inside piano. A part of the spoken text also ends up on tape (b). The body of
the oration properly is given by Hans van Heirseele (c). The speech: (a)/ (c) Do
we have a communication problem? We have a huge communication problem. It is
truly devastating. A communication problem the size of an all but sunken  Titanic is what the contemporary art scene has
to struggle with. This even doesn’t come as a surprise. Critics and
commentators excel in intellectualistic pep talk. One should only read the
brochures of Chambres d'Amis or the catalogues of Jan Vercruysse, or look at
what Cassiman says about De Cordier. Farmers’ bollocks, dude, sheer pep talk. Is
it reasonable to talk about ‘an alternative to save the autonomy of the
individual' if one only has to discuss a legume? / (a)/ (c) Re the core of the
problem: contemporary art, if it still deserves that name, has been
communicating ardently but no one has been notified. / (a)/ (c) Could it be
that a difference in levels is the cause? It could be. It’s imaginable. Levels
differ. Some things are high, because they are on a height, some things are low, because they are situated
lowly, and to bridge the difference one has to clamber for a day, at least, even
a week doesn’t suffice. A hearty discussion? Is that what they want? A hearty
conversation about hearty subjects? But that is not the heart of the matter;
about important issues one has to communicate in important ways. Minor issues
are dismissed as anecdotic./
(b) there are so many layers hidden beneath the stylistically often remarkable
interestingness of contemporary art objects / who could be capable to keep
track of all this/ the insider/ the insider/ could the insider be capable/ to/ without mental acrobatics/ if you please/ because
what are we talking about/ would only the insider know what they are talking
about/ is he she able to extract from the howling of meanings one meaning that
makes a difference / we want to know/ someone will tell us what it means/ (a)/
(c) To comprehend is not necessarily equal to the ability to speak. On
principle, it isn’t really necessary to have a grasp of what one is speaking
about. Speaking about things one has none or little understanding of obviously
requires / (a)/ (c) Another issue: great artist number whatever is being taxed
on his market value in the first place. Another issue: great artist number
so-and-so is being taxed on his market value in the first place. Another issue:
great artist number whatever is in the first place. With a lot of pomp and
circumstance. The effort accomplished is historical. And the average Belgian is
always in for market value; at least if that value isn’t as criminally and megalomaniacally
out of proportion that it seems to be exempt from all even remotely accepted standards of
correlation to the effort made. / (a)/ (c) and the consequences, they were
utterly disregarded/ (a)/ (c) People will suggest that an artist relies on a
small circle of intimates. What we are talking about, between the lines, needs
no comment. / (a)/ (c) Offside! They point the finger at the audience./ (a)/
(c) Or should we say that this lack of communication is a matter of all times?
The audience, the public, das Publicum, five cow’s arses and a dog, that’s about the
definite summum./ (a)/ (c) It is said that the audience doesn’t understand what
the artist is talking about. What if the audience knows exactly what the artist
is talking about? There is the insiders, and there is the audience, and there
is the cocoon of the art scene. What if the audience suddenly knows what the
artist is talking about?/ (a)/ (c) Or, is the audience still under the spell of
the 4th etude of Chopin. Or episode 4000 of/ (a)/ (c) Obviously, one could as
well hold that the faulty communication originates more deeply. In my opinion, there is
nothing in those depths./ (a)/ (c) There is a ballroom full of niceties and if
you’re finished marvelling at those / (b) in that respect there are the things
that be/ and there are the things that aren’t/ so to speak/ /indeed, why not to
say so / / there are the things that be / and there are the things that aren’t /
they have always been/ and they have always been not/ /they have been/ and they
have been not/ /being an artist concerns the re-realisation of those things,/ things
that always have been/ things that never were / (a)/ (c) and an answer that
moreover ought to ought to be right. 

EN PASSANT 1991. Straatproject in de Gentse binnenstad. Het Limburgse Il Ventuno vult een deel van het programma in. Frank Van den Eeckhout dirigeert het project.

GENT-BEJING. Roel Jacobs 2009. Een samenwerking met Circa (Gent) en De Garage (Mechelen).

KASK. Hans Beckers, Oratio Subita - Sonare Motus, crox-boek nr 15, 2010.

LOGOS. Nan-Ping Chang, Kristof Lauwers & Yvan Vander Sanden. c0de. 2010.

SCHRATTENBERG NUCLEUS - SCHRATTENBERG PERIFERIE. Instalramen op locatie Onderstraat 26, 9000 Gent. Een samenwerking met Experimental Intermedia. 1997.

TAGMOSIS. 2008, 2009. Een samenwerking met Mahaworks en Ciclic Records.

TEMPORARY CITY BERLIN
2009. Het project - een samenwerkingsverband van Flachland Kunstverein, Lokaal 01 en Croxhapox op locatie in Berlijn. Kunstenaars, o.a.: Ada Van Hoorebeke, Anton Cotteleer, Sarah Westphal, Kathrin Pacvlac, Nele Tas, Nicolas Leus en Stijn Van Dorpe.

VERZAMELWOEDE Een coproductie van K.O.R.N.E.L.I.A. en Croxhapox in Abdij Maagdendale (Oudenaarde), in het kader van Erfgoeddag 2007. Een jaar eerder was er op zelfde locatie een tweede editie van het merkwaardige BASICS project, een sequel waaraan 90 kunstenaars deelnamen.

VINYL
2009. Een coproductie van MER en Croxhapox. Het eerste vinyl combineert werk van Johan De Wilde en de Japanse performer Sachiko.

ZENNE 17 BRUSSEL
2009. Een project in Brussel. De locatie is een oud laboratorium in de Zennestraat. Aan het project nemen twee organisaties uit het Gentse deel, Croxhapox en Fortlaan 17 (Ischa is een van de initiatiefnemers), en een rits Brusselse initiatieven: Q-O2, Komplot, Constant vzw, Josworld, Bains Connective, Secondroom. Via Croxhapox komen ook Mahaworks van de Cubaanse performer Lazara Rossell Albear, Ciclic Records van Eli Van de Vondel en het Art Archive van Svend Thomsen in het project terecht.
De eerste episode is van 24 april tot eind mei 2009. In de croxruimte(s) werk van Alda Snopek, Christophe Lezaire, Johan De Wilde, Julian Moran, Marc Coene en Steffie Van Cauter.
De tweede episode is oktober 2009. In de croxruimte(s) werk van Bart Lodewijks, Dirk Zoete, Mil Ceulemans, Nicolas Leus, Oana Cosug, Stijn Van Dorpe en Thomas Bogaert.

een chronologische selectie uit de crox-correspondentie

1996

Thomas Böing: 13 december 1996 - Cher Hans von Heirseele, 

à
cause d une proposition d Antje Dorn et Gosbert Adler je vous envoies
quelques photo's. Premièrement je veux vous montrer les traveaux Lucy. Si ces traveaux vous interessent, je veux bien vous rencontrer.

1997

Ministerie van de Vlaamse Gemeenschap; 17 januari 1997 - Geachte, 

Hierbij
deel ik u mee dat de Vlaamse minister van Cultuur besloten heeft u een
toelage van 45.000 F. toe te kennen als steun voor het werkingsjaar
1996./

Thomas Hauser: no date - Dear Christel Dear Hans

Here
the paper you asked for, I hope its OK. If not, fake one and use my
signature. I give you my permission. Thanks a lot for the ballpens,
that's one thing I totally forgot. I already got in contact with the
gallery of Stu Mead but his books are all sold out.

De Vuyst Georges: 3 juni 1997 - Geachte, 

Wij zijn een fabricant van sierschouwen en keukens in natuursteen.

Bij
het maken van de openingen voor het inpassen van lavabo's zagen wij een
ovaal stuk uit de granietplaat. Deze stukken hebben voor ons geen nut
meer.

Echter, als tablet of zo kunnen deze stukken nog nut hebben op tentoonstellingen, of als basis voor een kunstwerk.

Deze stukken zijn ongeveer 40 bij 30 cm groot en de rand ervan is natuurlijk niet verder bewerkt.

Indien
u geïnteresseerd bent in enkele stukken kan u die komen afhalen iedere
woensdag tussen 14 en 17 uur. Als deelname in de kost vragen wij
100,-BEF per stuk. Dit bedrag dekt geenszins de kostprijs maar moet
eerder gezien worden als een bedrag voor het bekostigen van deze
mailing. Hoogachtend,

Franky DC: 11 juli 1997 - Geachte Croxhapoxbeheerraadsleden, 

Ik
heb de eigenaardige gewoonte om niet in te gaan op uitnodigingen voor
tentoonstellingen indien ik constateer dat er bij het eerste contact
één, twee of meerdere fouten in de schrijfwijze van mijn naam
voorkomen. In uw geval waren dat er twee in de handgeschreven versie en
één in de getypte namenlijst. Met vriendelijke groeten, Franky Deconinck

Marc Maet: december 1997 - Beste Kristel & Hans, 

Hierbij vooralsnog het boekje "mijn klein verhaaltje", waarvan sprake was. Laat me weten hoe jullie het vinden. Vriendelijke groeten./

Amy Kephart: december 1997 - Happy New Year Hans and Kristel! 

Sally
and I had such a great time in Ghent! Thank you both so much for your
kind hospitality and for inviting me to show at Croxhapox! It was a
great experience for me. My month long residence at the 'Millay Colony'
in up-state was really great. I made 50 paintings (portraits and life
size selfportraits). I hope all is well with you both, and also that
your show went well, Hans. Keep me posted--- P.S. Sally and I am still
singing jetlag girls are the worst! There is something catchy in it hmm... Again - Thanks and best wishes!/

Classic Incasso: 17 december 1997 - Geachte heer, mevrouw,

Ondanks
onze eerdere aanmaningen heeft u tot op heden gemeend niet tot
volledige betaling over te hoeven gaan. Evenmin zijn wij er in geslaagd
om telefonisch met u in contact te komen.

Behoudens
omgaand telefonisch bericht van u gaan wij er vanuit dat u binnen 2
dagen na heden alsnog tot betaling van onderstaand totaalbedrag naar
één van bovenstaande rekeningnummers van Classic Incasso B.V. overgaat.
Indien wij op zeer korte termijn noch uw betaling noch telefonisch
bericht van u ontvangen, zullen wij de zaak overdragen aan ons
juristenkantoor, waarvan de extra kosten volledig voor uw rekening
komen. 

U gelieve zich de consequenties hiervan goed te realiseren!

Hoogachtend.

Classic Incasso B.V.

J.J.Otten

Wendy Hirschberg: december 1997 - Dear Hans, 

Best
wishes for the New Year! I had a chance to visit Tom Broadbent over the
holidays, my first visit to his home, and I liked very much the
painting of yours that he had hanging in his new loft. ( ) I was very
pleased to hear again from Tom that my work was well received by you
-so I am hopeful. The grant cycle for funding is very soon so I wonder
if you will be able to notify me either way via fax? ( ) I hope you
enjoy the holidays and wish you a fruitful year full of creative time
and adventure! Sincerely,

1998

ICC: 7 januari 1998 - Geachte Mevrouw, Geachte Heer, 

Ik
zou U zeer erkentelijk zijn indien U ten behoeve van de bibliotheek en
het archief van de Vlaamse Gemeenschap in het Internationaal Cultureel
Centrum te Antwerpen, me regelmatig Uw uitnodigingen, affiches en
persberichten zou willen bezorgen. 

Met dank bij voorbaat, 

en met vriendelijke groeten,

Dany Smet, Bibliothecaris

Dianna Frid: April 1, 1998 - Dear Kristel and Hans, 

Hello
again, I hope you are well. Enclosed you will find the list of people
in Europe to whom invitations should be sent. One of them is Nicole
Klagsbrun (she is in New York and the invitation should be sent to her
New York address as soon as possible). Nicole Klagsbrun is a prominent
Belgian gallerist based in New York City. She is going to Brussels for
the Art Fair which opens on April 23. She came to my studio yesterday
and asked me to have an invitation sent to her and that she will come
to see the show.

Heike Kati Barath: 06 05 98 - Geachte dames en heren, 

Op aanbeveling van Thomas Boïng bied ik mij aan om in uw galerij tentoon te stellen. 

Ik
heb één jaar aan de Akademie voor Schone Kunsten in Gent gestudeerd en
heb mij zeer verheugd dat Thomas mij aan u heeft voorgesteld. 

In afwachting op antwoord groet ik u. Ik ben steeds bereid tot een gesprek. Hoogachtend,

Debra Pearlman: July 18, 1998 

I
had intended to write long ago. One factor was waiting for the enclosed
glasses to finally be available again. Hans, I did not forget. Kristel,
your wonderful style is so clearly imprinted to me, that I hesitate to
enclose this gift of thanks. I do dope you like it. I also hope that
you are all well -your children also. Please send my regards. It has
been a long and difficult year, but hopefully that is beginning to
change. If you wish to contact David Dapogny, you can do so at this
address. He mas moved, but we are in touch. Do you desire other
recommendations? How goes the gallery and your work? Kristel, did you
set up a painting studio for the summer? I hope that you have the
chance to respond to this letter -perhaps with less delay than me.
Hans, could you send the name and address of the gallery in Antwerp
that you had mentioned to me?/

Patricia Thornley: December 24, 1998 - Dear Hans, 

Happy Holidays!/ I am just sending a quick note to let you know a few things about my arrival, and the installation of the work.

I
will now be arriving on Thursday, January 7th. Edward and I have
decided not to drive but to take the train instead. Could someone pick
us up at the train station? We will be arriving around lunch time. Our
train arrives from Paris into Brussels at 12:20. I will call to confirm
this. ( )

I
am wondering if you have a shelf or a pedestal that is approx 11x14
inches on top. If it is a pedestal then it would need to be at least
3.5 feet high (preferably a bit higher). In case you don't have
anything like this, I am bringing some shelf brackets and hope that we
could get a piece of wood that is 11x14x1 inches and paint it the same
color as the walls.

Some
of the pieces need anchored screws in the wall. I don't know what type
of walls you have so I am bringing some different types of anchors. The
total anchor holes will be 17. The metal pieces can get a bit heavy for
regular nails or screws. What do you usaully use?

Sorry
to be so brief but I am swept up in the holiday madness today. I am
looking forward to the exhibition and to meeting all of you.

1999

Heike Kati Barath: 1999 - Dear Hans, 

I
just found my 'evaluatie' from the academy in Gent and I send it to you
-maybe Marc Maet is going to remember this. Yours Heike

Tomo Savic Gecan: 15/1/1999 - Dear Sjoerd and Hans,/ 

I've
got a project proposal for Croxhapox -it's connected to the fact that
the gallery is moving space. This something I find very interesting in
itself and connected to my recent work. Please find the description of
my recent work enclosed on the following page.

If
there is a possibility to organise an exhibition at Croxhapox it would
be necessary that this is the very last exhibition in the old space.
The space would remain empty during the exhibition. The project is
connected to the idea of the function of any given space. The first
part of the exhibition would take place in Croxhapox gallery, the
second (which is to follow immediately after) in a private space, i.e.
the exhibition continues after the gallery has moved somewhere else.
The exhibition would go on for let's say ten days -during the first
five days in a gallery space, during the following five days in a
private space. 

There
would also be an accompanying catalogue in which the whole process
would be documented. As I will need to apply for some funding for the
catalogue I will contact you next week to see if it's possible to carry
this project out.

I hope you are well. I'll speak to you soon, 

Regards,

Wendy Hirschberg: 1999 

P.S. Needless to say, I am very sorry not to meet you this spring! 

Dear
Hans,/ By now, we may have spoken on the phone and actually Marijke
will have updated you on my situation. Either way, it might be helpful
to have it on paper so I will continue to write this letter. As you
know, I am pregnant ( ). Since I am considered by my doctor to be high
risk I must take some precautions and not travel to Ghent. This makes
me very sad though the reason for this is a very happy one. To make a
sad situation a happy one, I have come up with the following plan which
has been gladly embraced by my two dear friends Suzan Batu and Marijke!
Suzan will travel over with her son and my exhibition arriving on March
31st. ( ) My final idea is to produce a short video discussing my work
with a friend or two so that I will not be an entirely missing person
at the show./

2003

Ron Huebner: Oct 8th 2003 - Dear Hans

Please see enclosed video as well as catalog

It is not really a lot of material but perhaps will give

You
some idea of my work. I have been turning around a lot of ideas for the
window and am thinking of creating a kind of breathing space through
the use of transparent frosted vinyl of the outside window and a video
projection inside with a video beamer is that something possible?

Anyhow take care

Will talk soon

Yours truly

Ron Huebner

P.S. video is not completely finished editing yet

Ron Huebner: Oct 28th 2003 - Dear Hans 

Greetings, Hope that all is well and that the order Of chaos is not getting to you too much. 

It
was very good to come to Gent and see the actual Space. Please forgive
me for not being perfectly clear In the past about the project.
Sometimes it feels like life Is holding together by thin threads. 

I know now EXACTLY what I want to do. This trip To Germany was very motivating factor.

For
this project in order to really do it right it will be Very important
to get the Right equipment which As I mentioned in my last email I
really hope that we Will be able to do. Perhaps this company can use
this Opportunity as a way for them to promote themselves I don t mind
if there is a sign there that says sponsored BY.

ANYHOW see enclosed proposal, Hope that You And the committee will like it, YOURS TRULY Ron Huebner.

2004

Stad Gent - departement cultuur, 02 feb 2004 - artistieke manifestatie "Basics #1"

Geachte heer Van Heirseele,

Het
college van burgemeester en schepenen heeft in zitting van 24 decemver
2003 het subsidiebedrag voor deze manifestatie definitief vastgelegd op
1.000 euro.

Deze beslissing zal in februari 2004 aan de gemeenteraad worden voorgelegd. Nadien volgt de uitbetaling van het saldo.

Met vriendelijke groeten,

Stad Gent - departement Cultuur, 16 feb 2004 - "Basics #1"

Geachte heer Van Heirseele,

Uw
manifestatie werd gunstig geëvalueerd. Op basis van uw kostenafrekening
heb ik aan de Gemeenteraad voorgesteld om de subsidie van 1.000 euro
vast te leggen. In zitting van 16 februari 2004 keurde de raad dit
bedrag goed.

Ondertussen heb ik de stadsontvanger opdracht gegeven om de storting van het saldo zo snel mogelijk uit te voeren.

Nogmaals dank voor uw bijdrage tot het culturele leven van onze stad.

Met vriendelijke groeten,

Renate Wolff (2004, no date) - Dear Hans,

this is the promised photo of the "Genter TRaum"-Model.

The
title for the shows "Genter TRaum" is related to an installation called
"Genter Raum" by IMI Knoebel from 1980 shown the first time in the
Museum van Hedendaagse Kunst in Gent. My title refers to the piece but
goes beyond it. 'Traum" means Dream, but the first 2 big letters
(TRaum) implicate both, the space (=Raum) and the meaning beyond it.

Will you use the photo for the invitation card or for another anouncement?

For my further preparation I need some information from you:

1. - to where can I send the paint and my other materials, to your home address or to the gallery?

2. - when can I travel to Gent? Since I need to start early I would like to come Sunday 30 of May. Is this convenient for you?

3. - where shall I live in Gent? Is the place I can stay close to the gallery?

4. - do you have a bike for me to move in town?

5. - Can the person, who assists me, help me from Monday on to the final end? (this is nessesary!)

6. - for the installation work I need:

-a spirit level (at least 1m long)

-a big ladder for reachting the top

-a long strip of wood (at least 2m long)

Please call me soon, so I can do my preparations. I hope you like the piece!

sincerely,

Renate

Renate Wolff (2004, no date) - Dear Hans,

How
is everything going? How far is the show, taken down or prolonged till
August? How did people react, how many people came to see?

I
heard that Imi Knoebel was very curious about the show, he asked
Christian about it. Next time, I'm in Düsseldorf, I am going to see him
and show him photos.

In
addition to my letter I send you one catalogue for you and one for your
nice neighbor with the three kids. Please pass it over to her and say
hello. Thank you./

You
said I should list my costs for the show. So the materials were
118,-euro and the travel costs were about 200,-euro. But it is up to
you.

Can
you please give me some feedback from the show and the circumstances.
Because an artist needs to know. Please also negative./

In expectation of your answer.../

Best wishes from Berlin. Renate

Luk Berghe - (2004, no date) - Beste Hans,

Ik stuur je wat beeldmateriaal zodat je een visuele indruk krijgt van mijn doen.

Onze ontmoeting in crox vond ik aangenaam.

Ik stuur je later nog wel voorstellen. Groeten. Luk

2005

Stad Gent - departement cultuur, 07 jan 2005 - kunstproject "Instalramen"

Geachte heer Van Heirzele,

Tot
mijn spijt moet ik u mededelen dat het college van burgemeester en
schepenen, gelet op het advies van de bevoegde commissie, in zitting
van 23 december 2004 beslist heeft niet in te gaan op uw
subsidieaanvraag voor hogervermelde activiteit.

Financiële
steun wordt voorbehouden voor projecten die afgebakend zijn in de tijd.
Dit is niet het geval voor "Instalramen" dat sinds onafzienbare tijd
doorgaat. De budgettaire beperkingen nopen bovendien tot een beperking
tot maximaal twee aanvragen per vereniging. De aanvraag voor de
tentoonstelling "Basics" die u eveneens indiende zal in februari ten
gronde behandeld worden.

Ik wens u veel sucees met uw activiteiten.

Met vriendelijke groeten,

Leon Eeckman - Brussel, 27 april 2005 - Geachte Heer,

Betreft: Verzekering Tentoonstelling : "Fotoproject Metamorphose"

Wij willen er U op wijzen dat de in de rand vermelde dekking ten einde loopt op 01/05/2005.

Indien U een verlenging wenst, gelieve ons dan zo vlug mogelijk hiervan te verwittigen.

Als wij geen antwoord van U gekregen hebben binnen de 14 dagen, klasseren wij het dossier.

Hoogachtend,

Leon Eeckman - Brussel, 28 april 2005 - Geachte Heer,

Betreft: Schadegeval van 27.04.2005

Beschadigd kunstwerk: 7 foto's

Wij melden ontvangst van uw e-mail en hebben het nodige gedaan bij de verzekeraars.

U
vindt hierboven de referenties van het dossier dat wij geopend hebben.
Gelieve deze bij elke later mededeling te vermelden en ons elk
document, dat U in verband met deze zaak ontvangt, toe te sturen.

Mevrouw
*** werd met het deskundig onderzoek gelast, dit onder voorbehoud voor
wat de aansprakelijkheid betreft. Gelieve met dit kantoor zo snel
mogelijk kontakt op te nemen om een afspraak te maken.

Steeds tot uw dienst verblijven wij,

hoogachtend,

Doris Kuwert - 2005 (no precise date) - Dear Hans!

I hope you don't feel confused by my drawings.

The whole idea about the curtain moving up and down is to let it slide on an oblique surface.

In the end/

The time procedure is as follows:

driving down, have a break,

driving up, have a break, and,

perhaps an extra break in between. This movement is quite slow.

On the other window it should go the opposite direction./

I hope you like the idea and that it is in general is possible to build it up. And now the questions start:/

2007

Ryosuke Cohen (no date) - PORTRAIT PROJECT -
Dear FRIPS/  I and my friend Shingo MIZOGUCHI - music teacher at junior
high school and mailartist Kazunori MURAKAMI are planning to visit
France (near Paris), Luxemburg, Belgium, The Netherlands and Germany
(near Belgium), July 22 to August 1, 2007. We leave Frankfurt for
Japan, August 2. Now we are making out the travel schedule. So we would
like to stay at your home for the one night. If there is no room large
enough for three of us to stay, one or two of us can stay at the hotel
near there. Would you please give your answer to Kazunori MURAKAMI -
yes or no, together with some advisable information?/ I want to draw
self-portrait and life-size portrait of mail artists. Is space large
enough for the mail artist to lie, because I outline the mail artist's
body lying on the floor?/ I would like to ask for your reply at your
earliest time till the end of May./ Best wishes, Ryosuke COHEN

Larry Walczak: Mon, 23 Apr 2007 13:32:51 - Joris

I hope you had a wonderful experience in Cologne this past week. I look forward to hearing stories from Thomas when he returns.

At this time I am reque

Kamagurka & Herr Seele. crox 10 (november 1990): Bijna 10 jaar Cowboy Henk. Een overzicht van de tumultueuze beginjaren van Cowboy Henk, eerst als dagblad-, later als weekbladverschijnsel.