encyclopedia

This encyclopedia offers a splendid and wildly recommendable insight in the world of Croxhapox, combining trivial pursuit and serious matter. The entries have been mostly written in Dutch but quite a few have been translated. If you want the Dutch original, change your choice of language and go to the 'encyclopedie'.

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C.O.R.N.E.L.I.A.

Werkgroep van directie en leerkrachten van de Tekenakademie te Oudenaarde.

Nodigt Croxhapox VZW uit voor een sequel van BASICS 2 in Abdij Maagdendale (2006). Aan de tweede editie van dit project nemen 90 kunstenaars deel. De technische dienst van Stad Oudenaarde zorgt voor 13 exemplaren van de oorspronkelijke tentoonstellingsmodule, een stapelrek van circa 3m hoog met vijf stapelrekken van 240x60cm.
In 2007 volgt een tweede samenwerking tussen C.O.R.N.E.L.I.A. en Croxhapox VZW, VERZAMELWOEDE, opnieuw in het kader van Erfgoeddag. Ook dit keer zorgt de technische dienst van Stad Oudenaarde voor een krachttoer: op locatie in de bovenzaal van de abdij wordt een 50m lange tafel uit één stuk vervaardigd. Op die tafel komen de verzamelde verzamelingen terecht, werk van kunstenaars, privé-collecties en ook werk van leerlingen van de Tekenakdemie. >verzameling
cactus

Title of the work by Roger Raveel (crox 70: Schilderkunst Hedendaags Belgisch).

cadmium red

> Borremans

Cage, John

JOHN CAGE & FLUXUS, a project by Jonas Scheys i.c.w. students of Beeld & Installatie (Masters Kask), April 2008.
Works performed:
John Cage Songbooks - Sonata for clarinet - Sonata for two voices - Living room music - Five - Daughters of the lonesome isle - 4'33"
George Brecht For a drummer 5, 6 and 7 - Instruction - Incidental music 1, 2, 3 and 5 - Saxophone solo, fluxversion1
Robert Bozzi Choice 12
Emmet Williams Song of uncertain length
Godfried-Willem Raes E 10
La Monte Young Si fa#

Performers: Ruben Cooman, Thomas De Schepper, Lien Van Steendam, Liesl Stevens, Clara Vanden Bremt, Jonas Scheys
Students Beeld & Installatie (Kask): Hou Cien Cheng (Taiwan) /moving still/,
Twan Bastiaansen (NL) /mountain, or hope sleeps silently here &
toe, serenade#1/, Sarah Geirnaert /untitled/.

See Timetable april 2008.

Campaert, Thomas

ARMEE LEGER (crox 162-crox 163, January 2006). Collages. Also participates in the sequel of BASICS 2 in Abbey Maagdendale. With a small, modular and scenographic work this time: under a small stolp is a miniature figure; outside of the stolp is a second figure, a lady in a yellow dress; she waves at the figure under the stolp. The module has a built-in source of light. 

Canada
Adrian X, Robert. Interventie in de mediaruimte (2006). Woont in Wenen. Vader van de Britse kunstenaar Alan Smith.

Anna Banana. 'But is it art?' crox 298 (2009). Performance. Mail art.

Frid, Dianna. crox 77 (1998) en crox 184 (2006). Geboren in Mexico DF, woont in Chicago. Croxcard 33 (2006): Island.

Huebner, Ron. crox 111, Jewels by Huebner, een instalraam (2003). Overleed op 1 maart 2004 na een verkeersongeluk in het centrum van Amsterdam.

Nadja. Concert op 27 maart 2009. Gastproductie.

capovilla, giampaolo (Ita, Padua)

crox 51, Open Deuren [Open Doors]. Location 53 (>Lauwaert, Beatrijs).

Cappello, Vincenzo

Venetian admiral, fifteenth or sixteenth century. Immortalised by Titian, stunning, a gorgeous portrait in red and dark shades, rose madder, carmine. van finds a reproduction of this work under one of the plane trees at Beverhoutplein, the square where about one year later croxhapox starts at number 7. He integrates the repro with the portrait of Vincenzo Cappello in the second solo presentation, crox 15, April 1991, right above the visitor's book and introduces, in the visitor's book, a sketch of the portrait of Cappello. some visitors too venture to sketch the protrait of Vincenzo Cappello.
Cappello, Vincenzo, is lacking in the Encyclopedia Brittanica where, by the way, is mentioned a lady, same epoch, same name, who poisoned her lover. Neither is he in Larousse. The reason is to be found in the short caption going with the reproduction. When Vincenzo Cappello was head of the Venetian fleet, they went down against the Turcs every time. They won not a single battle.

http://upload.wikimedia.org/wikipedia/commons/b/b9/Tizian_111.jpg

638 TITIAN * Vincenzo Cappello
National Gallery of Art
Titian was one of the most sought-after portraitists of his time; popes and and crowned heads eagerly commissioned his services. Emperor Charles V of the Holy Roman Empire knighted the artist and conferred on him the title of count.
Admiral Capello's portrait in gleaming armor calls to mind that in the 15th and early 16th centuries Venice was at the peak of the glory as a sea power, with colonies in Greece and Asia Minor. The baton identifies the commandor of the Venetian fleet, a rank Capello held five times. Although Titian shows the sea lord as a heroic and stalwart figure, the history of Capello's campaigns against the Turks is one of failure because of the intense jealousy of other Italian cities.
This painting was once attributed to Tintoretto.

Cardoen, Philippe

2008, crox 280. Een door Grégory Decock samengestelde en gecoördineerde presentatie met werk van kunstenaars die deel uitmaken van het GM-collectief. De Brusselse kunstenaar Philippe Cardoen voert een écriture automatique tekening uit op de houten tussenwand.

carels edwin

art machine. crox 3, April 1990. signpost. crox 17 , May 1991. crox
18, En Passant, Autumn 1991, location 11: Geldmunt 32. crox 24, Orbis
Pictus III, January 1995 . Added to the invitation: "ORBIS PICTUS/ DE WERELD IN BEELD GEBRACHT [ORBIS PICTUS/ THE WORLD DEPICTED]. Central to Edwin
Carels' work is the concept of viewing, the mechanism of representation and the relation between the viewer and the image, a world reduced to images./ In ORBIS PICTUS, a series of installations
also readable as diary fragments, Carels each time approaches the relation between the image and its subjective representation from a concrete viewpoint (a myth, a  poem)./ In this, the third installation it is a recovered glass photonegative. The space is discretely filled with reflections on media and the vulnerability of the image as a doubling of reality.
"Aux lieux des souvenirs..." Croxhapox #8: Croxhapox, a new start
(Dirk Pültau, De Gentenaar): "The basement of Aannemersstraat is
a nice place to stay. Edwin Carels, an artist who is also a writer (e.g. for the magazine 'De andere cinema') has wrapped almost the entire space. At the floor are packs of papers while ghostly newspaper pictures hang from the ceiling. A projector creates an image on a large glass: an enlarged image of a piece of skin stuck to the lens. Incredibly personal but at the same time very impersonal: the structure of the human skin simply creates a pattern on the plate, a pattern such as those of newspaper pictures which if searched closely only exists of dots. This installation straddles the border of a banal meaning (the newspaper photos) and the tangible loss of meaning (the projected skin). Because one really experiences the loss of meaning, the urge arises to go and look for it, to ask oneself what is said here -
while usually one simply passes by newspaper pictures and tv images. Carels' mise en scene sometimes is too emphatically explanatory, but it has quite a number of interesting elements piercing through." installation window #8 Tarkovski

CarianaCarianne (US)

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)


carte blanche

1. Voor En Passant (crox 18, herfst 1991) werkt Croxhapox samen met het Hasseltse Il Ventuno. Frank Hendrickx (artistieke directie van Il Ventuno) heeft carte blanche om 11 kunstenaars aan te brengen.

2. Persbericht CC Strombeek (2000): CARTE BLANCHE AAN CROXHAPOX. Het Cultureel Centrum geeft carte blanche aan één van de meest flamboyante alternatieve ruimtes van de afgelopen tien jaar. Onder impuls van Hans van Heirseele bracht Croxhapox een dynamiek op gang waarin vooral jonge kunstenaars een kans kregen zich meestal voor de eerste keer ernstig te kunnen profileren in de jungle van de kunstwereld. Croxhapox heeft dat standpunt ingenomen vanuit de overtuiging dat kunst uit zichzelf voldoende bestaansrecht put en niet gedegradeerd hoort te worden tot een wingebied voor materiële rijkdom en prestige, en in de hoop dat het hedendaagse kunstenaarsschap bevrijd kan worden van maatschappelijke en commerciële conventies en dictaten, waar het gedurende de laatste decennia in steeds grotere mate aan onderhevig is geweest. Croxhapox maakt nu een tentoonstelling in Strombeek met drie erg beloftevolle kunstenaars die op een eigenzinnige manier de tentoonstellingsruimte zullen bezetten en dynamiseren. ( ) Jan De Cock (1976) komt uit Brussel en viel onlangs op met een zeer grote installatie in de ruimte Argos in Brussel. Jan De Cock zal -zoals altijd trouwens- een speciale ingreep bedenken die nu nog geen definitieve vorm kreeg. Anton Cotteleer (1974) komt uit Antwerpen, maakt enigmatische sculpturen en studeert tegenwoordig nog aan het Hoger Instituut voor Schone Kunsten in Antwerpen. Cotteleer zal een selectie brengen uit recent werk waarin thematisch de mens en zijn/haar vervreemding centraal staan. Dirk Zoete (1972) is een Gents kunstenaar, studeerde vrije grafiek en bedenkt sculpturen en installaties waarin de humor en ironie een niet onbelangrijk aspect uitmaken. Ook van Dirk Zoete wordt een selectie werk verwacht die in dialoog zal gaan met het werk van de anderen. De tentoonstelling opent op vrijdag 18 februari om 19u00 hier traditiegetrouw met een performance en een optreden van Zeger Vandenbussche (alt sax) en Merlyn Paridaen (drums).
Die 18de februari stuurt Hans van Heirseele een fax naar CC Strombeek, vanuit Màlaga (ES), een fax met de openingsrede. Bedoeling is dat de openingsrede achtereenvolgens door Dirk Zoete, Sjoerd Paridaen, Jan De Cock en nog wat aanwezigen voorgelezen wordt. 

3. Tijdens BRAINBOX (2006) geeft de crox-directie carte blanche aan iedereen die in het project participeert, niet alleen de 18 kunstenaars van spoor 1, ook de personen die als waarnemer en commentator deelnemen aan spoor 2. Die bijna volledige vrijheid is ook een van de guidelines van de tweede editie (2008-2009).
Vanaf 2007 zijn er met enige regelmaat projecten waarop de term carte blanche net zo goed van toepassing is, gewild of ongewild.
Januari 2007: Five Collaborations van Alan Smith, die de als solo geplande presentatie uitbreidt door drie kunstenaars in het project te betrekken, Bart Maris, Rik Soenen, Mario De Brabandere, en met The 9/11 Party ook voluit kiest voor publieksparticipatie. 
April 2007: Onder de noemer NEW AMERICAN STORY ART brengt Larry Walczak (NY) werk van vijf Amerikaanse kunstenaars samen. William Powhida, Nate Larson, Edward Monovich, Jim Torok en David Kramer. David, die eerder al aan projecten van Voorkamer deelnam, is naast Larry zelf de enige die naar België komt en logischerwijs ook de enige van het 5-tal die een werk in situ uitvoert.
September 2007: Bart Vandevijvere coördineert een Frans-Belgisch project. De kunstenaars hebben ook beschikking, van juni tot november 2007, over het instalraam in de Onderstraat. Luc Berghe, DD Trans, Stéphane Cauchy (F), Stéphane Benault (F), Emmanuelle Flandre (F), Martin Singer (F), de Marokkaanse kunstenaar Brahim Bachiri en Bart Vandevijvere zelf.
Augustus-september 2008: carte blanche aan het Brusselse CCNOA.
Oktober 2008: Grégory Decock (F), fondateur van het internationale GM kunstenaarsgenootschap, hij woont sinds enige in Brussel, stelt een project samen met kunstenaars die deel uitmaken van GM. Tim Onderbeke, Nicolas Durand (F), Guillaume Escallier, Manor Grunewald, Pieter Bauters, de Brusselse kunstenaar Philippe Cardoen en Grégory Decock zelf. van en Yannick Franck maken deel uit van GM maar nemen niet deel aan het project, Yannick in hoofdzaak omdat hij op dat moment nog geen lid van GM is.
Mei 2009: Stefaan Dheedene en Deborah Delva nodigen Niklaus Ruëgg (CH), Dries Verstraete en Frederik Van Simaey uit om aan het project deel te nemen.
Mei 2010: Characters Make Stories. Dit keer is het Stijn Van Dorpe die de kaart samenstelt en het traject bepaalt.
cartoon

BIJNA 10 JAAR COWBOY HENK. Crox 10, herfst 1990. Vier jaar later is er nog een project van Herr Seele, crox 22 (herfst 1994), dit keer met zelfportretten en ook een reeks cartoons die hij vanaf circa 1992 voor De Standaard begon te maken.
Kamagurka heeft een solo project in 1998 (crox 72), een mix van schilderijen, cartoons en zeefdrukken.

Larry Krone, crox 97. 'Krone eigent zich op eenzelfde eigenzinnige manier ook de uiterlijkheden van de country & western toe,' schrijft edith Doove (De Standaard, 9 juni 1999). 'In het patroon van zelfontworpen bandanas blijkt taal al evenzeer verstopt te zitten als in de kralenkettingen die hij uit stripverhalen maakt.'

NEW AMERICAN STORY ART, crox 205, een groepsproject gecureerd door Larry Walczak (US). Cartoonesk werk van Jim Torok, David Kramer, Nate Larson, Edward Monovich en William Powhida.

crox 291, cartooneske portretten van Haritz Guisasola Izeta (ES), een Bask die in Madrid woont. De presentatie combineert op sigarettendoosjes geschilderde portretschetsen, enkele grotere werken en een uitgebreide reeks portretten van politiek canaille en aanverwanten.

crox 324, OFF THE CHAIN, een project van Leo Gabin, toen nog als CUM. Een mix met schilderijen en tal van multimediale variaties, installatorische ingrepen en semi-pornografische iconografie waarbij net zo vaak een cartoonesk element hoort.

catalogues

crox-archives /alfabetic: catalogues and similar 

2017 - De gazet van de toekomst. SPTMBR - Ed. 2005 /www.2017.be/ [The gazette of the future]

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 - poetry magazine, Summer 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 [The Genesis of the Image]
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, june 2005 >galeriemanie: galerie croxhapox

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 [The slow fire, magazine of Chinese literature]
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 [In the sign of Taurus]
Inmiddels 1 - Ed. Croxhapox 1995 (croxkrant, limited edition)
Inmiddels 2 - Ed. Croxhapox 1996 (croxkrant, limited edition)

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 [Young art from Ghent and environs]
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 >work by a.o. 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 [Guidebook for exhibitors]
Rood gekookt - Ed. De Brakke Grond, Amsterdam 1996 [Boiled Red]
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 [Silent Painters]
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 [Mobile exhibition project]
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 [See Drawing]
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 [Sister S, beguin. Artists and beguinages]
Zwischen den Welten - Ed. The Korean Culture & Art Foundation 1999

Cauchy, Stéphane (F)

Participates in the sequel of BASICS 2 in Abbey Maagdendale, crox 145-II. A cube of sand, it is one of the most remarkable contributions. 

Cauchy is a member of Alter Native, a multidisciplinary collaboration project of Bart Vandevijvere/DD Trans/Luk Berghe and artists from the North of France. In the crox-programme since June 2007: first a series of installation windows (the first one in June 2007 is a work by Stephane Cauchy); from the first of August an encampment starts in the white space at crox and a group project originates there in September 2007.

>Benault >Flandre >Bachiri >Singer

 

[The Cauchy family is one of the most famous mathematician families of all time. See Group Theory]

Caven, Kari (FIN)

Finish artist. Enters a maquette for the Signos-project (1991-1992).

[Suomalainen taiteilija. Anta avustuksena ehdotus Signos-projectilla (1991-1992).]

Cavenago, Umberto (IT)

Signos de Admiracion (1992). Aborted project with 25 international artists. The archives have no information about the plans of Umberto Cavenago.

CCNOA

2008. 31 augustus tot 14 september. Gastproductie van het Brusselse CCNOA. NOA = Non Objective Art. Groepsproject met een twintigtal kunstenaars. Julian Daspher (NZ), Billy Gruner (AU), Ro Hagers (NL), Koen Delaere (NL), Ward Denys (BE), Léopoldine Roux (FR), Michelle Grabner (US), Tilman (DE), Sacha Goerg (CH), Kyle Jenkins (AU), Sarah Keigerty (AU), Ton Schuttelaar (NL), Ingrid-Maria Sinibaldi (FR), Gerold Miller (DE), Andrew Leslie (AU), Michal Skoda (CZ), John Tallman (US), Jan Van der Ploeg (NL), Machiel Van Soest (NL), Pieter Vermeersch (BE), Jan Maarten Voskuil (NL) en Lars Wolter (DE).
De corridor functioneert als teletijdmachine. De presentatie, in de zaal achterin, is een kleurrijk geheel van Non Objective Art objecten. Geometrisch minimalisme, een aantal in situ ingrepen, spekgladde objecten, abstracte composities en monochromen, alles bijzonder zorgvuldig afgewerkt. Enkele van de kunstenaars die aan het project van CCNOA deelnemen, runnen ook zelf een NOA-ruimte, Billy Gruner in Sidney, Jan Van der Ploeg in Amsterdam.
Tijdens de openingsavond is er een concert van Monkey Arse met o.a. Tilman op sax.

Cegniz, Ilknur

Joins the crox board in October 2007. Studied at Kask (Hogeschool Gent), department 3D, and won a seat in the Ghent city council for Spirit in 2006. As an artist, she concetrates on film.

Ceulemans, Mil

crox 290 (February 2009), solo project in the large space. Paintings and photos.
Participates in the Brussels Zennestraat 17 project during the second presentation (October 2009).

Ceulers, Michiel

'Middle of the year' event of students of Kask (2008). CM co-ordinates the event and immediately afterwards is invited for a solo project.
crox 329 (March 2010). Solo project in the main space, simultaneous with Nel Aerts. 

chair / > stoel

1. Half a dozen chairs still hanging out in croxhapox after the first and only solo project from  J. Vander Borght />alter ego/ in januari 2005. Three colours: red, grey and blue. They don’t want to be stacked up unless in untenable acrobatic accumulations and are therefore mostly in the way. Unless when they are in use. The usual usage: accomodating seat-loving bipeds, lend a helping seat during meetings and allowing some bloke to stand on them to put a screw in the wall. During the project, Joris had tipp-exed a sentence on each one. A remark, a gibe, a lament. The blue one, for example, has the sentence I sit and wait. Later on, Tim Onderbeke remarks that the chairs, as he has seen on internet, are worth quite a heap of money. If in good condition, that is.
2. Plus minus 30 chairs from the reserve of Kask [Academy of Fine Arts]
furnished by students since 2007, mostly during mid-term or end of term
expositions. Stackable and sometimes embellished by writings, scratches, graffiti, blotches, simple or complex.  
3. Two easy chairs of black imileather, also commonly known as imitation leather, leatherette from the Ikea of Smetlede as that hole is called, a mega junk shop on Lede territory, which have been in use in the office for deskwork and similar activities ever since 2006. Sit comfortable. One of the chairs has a loose leg.
4. Three brown bar stools at 50 euro each, acquired from aforementioned mega junk store. They had a lot of two dozen bar stools, all identical.
5. The highchair of Grégory Decock (F), an antique chair his mother is said to value very much but which has for some reason or other been around in croxhapox after the GM project (2007). The accompanying little desk also is valued highly.
6. A chair Wouter Cox marks with 666 aanbrengt. (crox 12, January 1991) Or rather, the chair Wouter Cox drapes a white t-shirt over, nicely hung on a clothes hanger and which has been marked with 666. How the mark was applied is time forgotten.  
7. A battered chair with a blue seat and back. Not quite clear when the thing turns up in croxhapox.  
8. One day, Susan Clynes dumps two prie-dieux at crox, which van mercilessly saws the backs off.
9. Two metal chairs without cushions on the seat or the back, out of fashion design from end sixties or mid seventies, rusty in spots, ultimately unstackable, which for logical reasons was never intended anyway and goodlooking in a certain way, that is. How they arrived in croxhapox, we don’t know. Quite often all and sundry stays behind at the end of a project, things suddenly not a soul cares about anymore.
10. For Return To A Temporary Calm Rudy en Lorenzo (2010) knock up three benches, so nicely botched together that they already break apart when you sneeze, or more precisely put, when you fart. After the project they end up in the storage (a remarkable history it has, that storage), later they are turned into firewood.
11. Man seated. Nel Aerts during her solo project in 2010. The ritual. She sits at the end of the corridor, right where visitors enter the big space in the back, and presents each visitor with a carefully finished envelope with an invitation to come and take away one of the many pieces of wood numbered 1 to 300 when the project ends. Adam Geczy (AU) during Toasting On The World Food Crisis With A Bottle Of Dom Perignon (2007). Memorable moment. He sits at a small table covered by a white cloth. At the table is a bottle of Dom Perignon and a flute. Above his head a text is projected one sentence at a time, more or less like a feature film sans images. Adam raises the image to significant levels. He sits at a white, clean table and drinks Dom Perignon, his face entirely white, he doesn’t say a word and there is nothing which could indicate he is even in the least aware of the excentricity of his behaviour. On his own, he entirely empties the bottle of champagne. One single shot, a single sip of such a glass of Dom Perignon is the equivalent of the yearly wages of people living in, I just pick one, Burkina Fasso. 
Alan Smith during the Five Collaborations project (2007). He sits in a leather chair, in the middle of the project, and he is radiating, overlooking the battlefield. The attendant at the small, veneered table in the hall, under the from time to time loudly buzzing blackheater. She is wrapped up warmly, bending over a laptop. Jonas Scheys and two other performers (1 April 2007) during the performance of a work from John Cage. They are in the office. At the same time another performer sits in the lage space in the back and performs a piece of the same composer, a piece for typewriter, a short set of instructions which
will be repeated later that night by still another performer. In 2004 we didn’t have a blackheater in the hall. CarianaCarianne /the first project, crox 118, April 2004/ sits in the hall, close to the door leading to the corridor, she reads and writes and holds her legs over the radiant heater, more or less the only way to see this sitting marathon through. Hans Bryssink and the students of 2nd bachelor Multimediale Vormgeving, 6 years later. They sit in the hall and
discuss what they are going to do next season.
12. For Tagmosis at Croxhapox (December 2008) Eli from Ciclic and Lazara from Mahaworks rent a stand and surprisingly it is quite full with people.

13. The meeting chair. An executive chair. Two beer crates: the easy chair. Three beer crates: the déjà-vu of De Morgen in a row. Four beer crates: a foothold for the twaddler. A plank, a tree trunk, everything even modestly resembling the horizontal plane is an opportunity.
14. In 2009 Johan Boutelegier and Hannah acquire a new couch. The old one, a three-seater covered in brown fabric, is from the end of March till mid August 2009 a part of the crox-furniture and finally turns up in Brainbox2 at the very end of the project. During the finissage The Singing Painters perform and Michaël uses the milkbrown sofa as a seat.

chambres d'amis

HEIRNIS GEEFT KUNSTENAARS RUIMTE Veerle Vogelaere, De Gentenaar, zaterdag 28 zondag 29 september 1996. De introductie opent met een verwijzing naar Chambres d'amis:

'Bewoners die hun huis openstellen voor een kunstenaar én bij uitbreiding voor het publiek, het is niet voor het eerst dat dit in Gent gebeurt. Toch verschilt het 'Open deuren'-project van vzw Croxhapox grondig van de moeder van dergelijke evenementen, 'Chambres d'amis'. 'Open deuren' is namelijk geconcentreerd in een enkele buurt en de deelnemende buurtbewoners hadden ruim inspraak in het project. Alle bewoners van tien straten rond de Croxhapoxruimte aan de Aannemersstraat kregen een uitnodiging om te participeren bij 'Open deuren'. Zowat 600 adressen werden aangeschreven en dat resulteerde in 94 locaties. Dit en komend weekend kan iedere geïnteresseerde er terecht.'

KUNST VAN DEUR TOT DEUR (EB), De Morgen, vrijdag 27 september 1996. Ook (EB) verwijst naar Chambres d'amis:

'Instellingen voor hedendaagse kunst die uit hun isolement breken, daar hebben ze in Gent al eerder van gehoord. Tien jaar na datum geldt Chambres d'Amis van het Museum voor Hedendaagse kunst nog steeds als een referentie. De nog vrij jonge vzw Croxhapox in de Gentse deelgemeente Sint-Amandsberg steekt dit en volgend weekeind eveneens de handen uit naar de buurtbewoners.'

chandelier

CHANDELIER, one of the characters in The Gentlemen's Gentlemen. 
The text of the Chandelier is spoken by an actor/artist from New York, someone from the circle of acquaitances of Noe Kidder or Brian Getnick. The colophon has a list: Jeff Harms, Katie Fitzgerald, Eura Chun, Vanessa Valladares, Yumiko Takagi, Noah Wadden... 
I bet it was Harms who had the role of the chandelier. He is not present in the flesh during the spectacle. His and the palm tree's roles were reduced to a video.

Chang, Nan-Ping (Taiwan)

Chang, Nan-Ping (Taiwan) Crox 149, 30 September and 1 October 2005. Solo performance 444.

Fragments from a text about 444: /444 is a solo dance performance. The basic idea refers to one of the most motivating but destructive characteristics of humankind: greed. Many daily movements or endeavours are the effect of the ambition for results, a material gain or the feeling of having enriched oneself./ 

/A second theme comments on the growing demands to the human body as an aesthetic object./ 

/444 is in essence a simple performance. A dancer moves in an almost empty space, is this way attention is drawn entirely to her body/ carefully and cutiously she explores the space/ 

/gradually she starts to act strangely/

/radical >metamorphois/ transforms into a pig/ In this stage instinct takes over from ratio and the person on stage coincides with her drives ( ) translated in a primitive, animallike language of movements. The whole feels raw and violent./

/What started as a disgusting scene (is) gets more and more a status of beauty, of freedom./  

/After this animallike stage follows a meditative episode./ (>naked) she moves imploringly,/

(apparently eastern)/

/During the >performance slides are projected showing details of body parts. After the performance a short movie is projected./

change of direction / > koerswijziging

change of direction

June
1990. Croxhapox has been active for only a few months. Mid April 1990 Frank has joined the group which really isn’t a group because only Hans  is occupying himself with matters. Guido is to busy in his television job. It is Frank who proposes to prospect in a more
thorough and focused manner instead of just fishing in our own pond.

One of the very first artists who are visited by Hans and Frank is Michaël Borremans. MB is at that point in time not yet ready to paint.  He’s making graphical work and drawings with an emphasis on a kind of baroque pomp.  Hans and Frank decide not yet to show the work.
 

The COD Frank envisages causes some oppoisition from Hans. He has misgivings. For example: what’s the use showing work of well known artists? They ARE well known and precisely for that reason not really interesting.  The potential is in the vast hinterland of little known or absolutely unknown artists who get no exposure because the posh circuit offers few or no opportunities for unknown talent.  
From 1991 Hans falls in with the new and adventurous discours. Immediately this COD widens the programme. Croxhapox at that moment has no location and can’t organise exhibitions. All projects are specific and thematic. An idiosyncratic drive and a nervous expansion are characteristic for those times.

Halfway through 1991 an interesting but not always easy balance between the ideas and plans of Hans and Frank dominates crox’ discourse. The ultimate failure of the first COD (croxhapox at
the time probably didn’t have sufficient resources to organise a mega project which could have been the precursor of  Over
the Edges) had little impact on the essential rationale for croxhapox as an art idea. In En Passant (1991) no well known artists, apart from a few exceptions, were programmed and also the Copy Art project (1991-1992) had young talent and breathed anarchy.

The targeted COD, with a.o. projects such as Signos (1992), met with an abrupt lack of interest from the posh scene: famous artists who were invited turned a blind eye. The limitations were a part of the discourse: was it by any measure opportune to present well known
artists?   

COD 2, zomer 1994. From the end of 1992 croxhapox is on hold. Hans has a girlfriend, Kristel. Kristel owns a house and thinks it’s a good idea to restart croxhapox in the basement of Aannemerstraat 54.   A new beginning. The projects follow the line of the first croxhapox stage, in het croxspeak important or famous artists have
no meaning whatsoever, we start at the bottom.  In 1995 Michaël Borremans has his first crox-solo, Dirk Zoete, Thomas Broadbent, Jan De Cock, Ward Denys, Anton Cotteleer, Johan De Wilde and a lot of others follow suit. The difference with the previous period is absolute freedom: there are no names.  Names are fabricated. That’s why no capitals are ever used in invitations and posters. Capitals belong to the posh scene which actually knows hardly anything about art. The COD forced by Hans van Heirseele b rings about a remarkable momentum.

During the Summer of 1995 Frank joins the team once more. It is only a short episode for Frank, the episode of the opening speeches and the concerts. Frank stresses the importance of a lively atmosphere.

At the end of the nineties Croxhapox becomes one of the most remarkable spots in Flanders.

The third COD is in a minor key: Hans leaves Belgium. He’s off to the South.

The fourth COD happens in 2004. By then, Croxhapox has been active for a while in a factory building close to Dampoort.  The artistic management argues for the importance of a more experimental position (the brainbox idea) and the team implodes. At the same time the new government policy on the arts is passed [Kunstendecreet].

At the start of 2005 Joris Van der Borght and Nancy De Vos enter the crox realm. The team is suddenly expanded with a lot of new members.  It is the start of a change towards a more expeerimental way of operating in which a transparant position and communication explicitly get as much attention as quality of form and content. At the end of 2006 the BRAINBOX project results in a masterly climax.

Chereau, Patrice

2009. crox 289-5. TVF art doc cinema, The Theatre Compilation. Documentary of Dans la solitude des champs cotton, a production from 1995.

Chicago

Woonplaats van
CarianaCarianne - projecten in 2004 en 2006, crox-boek Nr 3
Debra Tolchinsky - project in 2006
Dianna Frid - projecten in 1998 en 2006
en tot 2008 woonplaats van
Brian Getnick - projecten in 2007 en 2008, crox-boek Nr 9

chronology

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.

citaat

Kunstwerken: Tamelijk willekeurige tussenstanden van een intellectueel proces dat onbeperkt kan worden opgepakt, voortgezet, veranderd, tenietgedaan. (uit de 'cahiers' van Paul Valéry) Gebruikt als introductie in de catalogus van A Group Show curated by RE:°, eerste bladzijde, bovenaan. Ook Hans Theys maakt van het citaat gebruik, in dezelfde catalogus, waarvoor hij een bijdrage schreef met 'Als een luidop, maar toch zacht denken' als titel: "Kunstwerken," laten ze Valéry verklaren, "zijn tamelijk toevallige tussenstappen in een intellectueel proces,"

'Cependant...' Et Pécuchet répéta deux ou trois fois 'cependant' sans trouver rien de plus à dire. (Gustave Flaubert, Bouvard et Pécuchet) Particles, Johan De Wilde, crox-boek nr 2 (2006). Introductie. In dezelfde editie, bladzijde 22: Gelezen bij Max Frisch: 'Hij glimlachte om één van zijn vroegere overwegingen: waarom de mens op ellende en dood rekende, terwijl geluk even onontkoombaar was en dikwijls bereikbaarder dan misère.'

Circles in water as they wider flow The less conspicuous in their progress grow, And when at last they trench upon the shore, Distinction ceases and they're view'd no more. George Crabbe, Circles. Aangetroffen op bladzijde 19 van Borders, crox-boek nr 3 (2006) van CarianaCarianne. Er is er nog eentje, bladzijde 37, net voor de lezer het derde hoofdstuk betreedt: On that day, the realm of France received on parchment a stupendous accession... the vast basin of the Mississippi... and all by virtue of a feeble human voice inaudible at a half a mile. Mark Twain, Life on the Mississippi. 'We were barely four years old,' schrijft de auteur, 'when our mother threw us over a bridge and into the water below. It was out of her frustration that she did not want' Ook de deur van hoofdstuk 4 heeft een citaat als sleutelgat, iets uit de Burlington Herald, daarin gepubliceerd op 27 januari 2005, meer dan een half jaar na crox 118, het eerste crox-project van CarianaCarianne dat het basisgegeven werd van het 3de crox-boek: 'After the Tsunami, mourners on the Thai island launched two new fishing boats as a first step toward rebuilding the devastated local fleet.' (Borders, bladzijde 45) Op bladzijde 51 tenslotte wordt geciteerd uit het werk van Kahlil Gibran, 'for life and death are one, even as the river and sea are one' en Marcel Proust: 'The real voyage of discovery consists not in seeking new landscapes, but in having new eyes.'

Aan de eerste crox-publicatie, de catalogus van En Passant, 25 instalramen (1991), worden drie citaten toegevoegd. Het eerste is van de oude Max Beckmann, toen hij als immigrant in de Verenigde Staten woonde: 'Personally, I think it is high time to put an end to all 'Isms' and to leave to the individual the decision wether a picture is beautiful, bad, or boring. Not with your ears shall you see but with your eyes.' Sluit aan bij het citaat uit het werk van Proust dat door Trevor Martin gebruikt wordt om zijn bijdrage aan het derde crox-boek te openen.
Het tweede komt uit Le Savon, een werk van Francis Ponge. Il y a beaucoup à dire à propos du savon. Exactement tout ce qu'il raconte de lui-même, lorsqu'on l'agace avec de l'eau, d'une certaine façon. Il semble aussitôt enclin à beaucoup dire. Qu'il le dise donc. Avec volubilité, avec enthousiasme. Jusqu'à disparaître par épuisement de son propre thème. Quand il a fini de la dire, il n'existe plus.
Het derde is van Paz, Octavio Paz, als ik het goed heb komt het uit De boog en de lier (Het gedicht. De poëtische openbaring. Poëzie en geschiedenis), een editie van Meulenhoff. 'We zwijgen niet, niet (...) omdat we niets te zeggen hebben, maar omdat we niet weten hoe we alles moeten zeggen wat we zouden willen zeggen. De menselijke stilte is een zwijgen, en daarom een impliciete communicatie, een latente betekenis." In zelfde catalogus citeert Lieven David uit teksten van Wassili Kandinski, Kasimir Malevich en Michael Ogilvy. Dat van Ogilvy komt, lees ik, uit een titelloos essay over marketing. David citeert het niet letterlijk, het is een van de hinkstapsprongen om, één bladzijde verderop, tot het eigenlijke motief te komen. 'In een oprisping van ijver,' lees ik, 'heeft de marketingdienst van de firma Popla becijferd dat de mens tijdens zijn levensduur gemiddeld anderhalf jaar op het toilet doorbrengt.'

JL 'Ik zou dit interview naar aanleiding van jouw tentoonstelling 'De helft van het werk' in Croxhapox willen beginnen met een citaat van Marcel Proust: "...te weten dat ieder van ons houdt die niet alle van dezefde morele grootte zijn..." Kan een kunstenaar zoals jij die werkt met verschillende personages zich herkennen in dit citaat van Proust?' Jeroen Laueryns, Een kind dat niet wil kiezen. Uit crox-boek nr 10 van Peter Morrens.

'Op de prachtige tekening is een citaat te lezen dat tot ieders verbeelding kan spreken: 'It was certain because of the distance.' D'hondt bewijst zo haar talent om met minimale middelen tot een subtiele inhoudelijke gelaagdheid te komen.' Luk Lambrecht, Intimiteit versus crash; 23 april 1999, De Morgen.

Crox-boek Nr 7, Waadruim : Legenda, van Nicolas Leus, opent met twee citaten: 'De leegte is het bevattende in het vat', van Martin Heidegger, en 'Bij de legendarische wedstrijd van Hamburg SV tegen FC Barcelona in het begin van de jaren zestig stootte hij van opwinding zijn theekopje om', over Martin Heidegger.