encyclopedia

Pane / >Ruit

Backstage (street side) in smithereens./ Lieve D’hondt(crox 95) applies the letter F to the window of the in-between floor of Aannemersstraat 54. It's the picture of that letter F (and the synchronous panorama of the cityscape) which is printed in De Morgen./ Stefaan Dheedene whitewashes the windows of Onderstraat 26./ The installation window project: a pile-up of window panes. (installation window)/ Jens Brand (crox 36) sticks an orange dot at the window of Onderstraat 51./ Hendrik Vermeulen (crox 115) applied tape and chalk to the windows (Onderstraat 26)./ Ron Huebner (crox 111) sticks the taxt Jewels by Huebner on the glass in the door./ Sjoerd Paridaen and Hans van Heirseele (crox 133) whitewash the windows, leaving a slot for the mail art./ Talking about Kalken ['Kalken' is a village near Ghent. it also means 'to whitewash'.]: In Den Bouw has a magnificent window with a rounded upper edge and offering a view of the wide rural landscape. Whether something is wide or vast is a detail./ The panes of  Beverhoutplein 7. Having 6 window panes and 9 letters, how do you fix that? The advantage of a signboardis is that you don't need windows. And the advantage of not having windows: you can't smash them. [To smash your own windows in Dutch also means to harm your own business or reputation.]

Paridada

Alter ego of Sjoerd Paridaen. The main and most important PARIDADA stamp has a chessboard pattern.

crox 13 - Paraplastique hystérique. Critique by Dirk Pültau (De Gentenaar). During this project the three rooms at Beverhout Heights bathe in a different ambient: the front room in blue, aft in red, and the extra in yellow. Sjoerd Paridaen sticks to a three-dimensional approach.

crox 17 - Copy Art project; the first edition is invading the streets of Ghent in a number of workshops about Signos. Suggests mail-art artist Jürgen O. Olbrich and later on also Guy Bleus and Johan Van Geluwe.

crox 18 - En Passant (1991). Located is a city mansion at Ottogracht. Collaboration with Erik Lagrain.

crox 42 - installation window [>instalraam] (March 1996). Onderstraat 26. Again with Erik Lagrain.

crox 55 - paintings (November 1996). More than 5 years after his first solo show, SP unveils the works he wanted to exhibit in 1991 - they were then vetoed by the crox-team.

SP's mail art correspondence with van (www.shcorr.be) starts on December 31st, 1996. The PARIDADA stamp is omnipresent during the first years of this correspondence, up to 1999. Later it gradually becomes less important until Sjoerd finally admits that the PARIDADA thing is over and done. Next to the SHCORR correspondence are some from an earlier decade, not too many, and some new ones, e.g. with Gabrielse, a South-African mail artist, Wouter Feyaerts, a former student of 3D, and Merlyn, his son.

see Paridaen, Sjoerd

>paridada

Peers, Dirk
(1957-2003)

crox 23, solo
project: De Maaltijd [The Meal] - December 1994. At the occasion of the opening
night of this project van has had the courage to give a speech for the first
time.

crox 40, project
with Ruth Mentens - March 1996. During this opening night there was a
performance, “Het Mosselpannetje” [The Pan of Mussels], and a solo jig by
Raymond Van Het Groenewoud.

crox 51, Open
Deuren [Open Doors]  - 1996.

crox 80, solo
project - June 1998. Simultaneous with solo projects by Ignace De Vos. Critique
by Edith Doove.

crox 104, The
first 10 - Summer 2000.

crox 120, homage
project i.c.w.. In Den Bouw (Kalken) and Galerij Jan Colle - mei 2004.

crox 145, BASICS
2 - June 2005. Works by Dirk Peers from the crox-archive.

crox 145-II,
sequel BASICS 2 - April 2006 (Oudenaarde).

Verzamelwoede
[Collection Rage] (Oudenaarde) - April/May 2007. Works from the private
collection of Ruth Mentens.

EEN TEKST, TWEE
WOORDEN, DRIE BEELDEN – [ONE TEXT, TWO WORDS, THREE IMAGES] Hans van Heirseele
wrote the text for the catalogue of a triptych in Campo Santo chapel, C.C.St.A.
The triptych consisted of solo projects by Lucy Slock, Philip Aguire, Dirk
Peers. Similar to what happens during the - at that time (in)famous - crox
opening speeches, van Heirseele entirely goes against the discourse which is
used customarily in catalogues. De Brakke Hond NR 37 (1993) publishes a more or
less identical text, the seventh fragment of 'Le Cadavre Repris', a loplop-poem
Joris Denoo and Peter Verhelst also contributed to.

"Verpeersen.
Slockomotion. Aguirratie. Key concepts for a better understanding of. Words
that. Irresistibly without content. That are not in the dictionary. A dark
reason why. Not to be in a dictionary.

Which means more
or less: to be free of meaning.

The dictionary
signals this wee bit of content./ Digital emptiness annex a crate of lager
versus content: a bridge to the deer, to the toad a tunnel, to the author
of  trilogies a prop, a handkerchief to
the pile of suet, inconsequences of the physical object.

There are
dictionaries and dictionaries./ Some dictionaries even know all about the
ubiquitous and very useful word "prat":

prat, bn. bw.
(-ter, -st), fier, trots, hovaardig: prat gaan op zijn geld [proud, boasting, …
To be showing off with one’s money.]

Some dictionaries
apparently don’t agree:

prat, prats. If
you call someone a prat, you mean that they are very stupid or foolish.

Or consider
"prop".

op de proppen
komen: met iets op de proppen komen, over iets spreken, daarvan gewagen,
enzovoort./ While Collins Cobuild (Harper & Collins London 1991) says the
following:

prop is 2.1. an
object, for example a stick, that you use to support something in a particular
position. EG (bijvoorbeeld) He used two sticks as props for the
rope./ Or: Juan put a prop in the troubadour's arse.

According to one
dictionary it would mean, I quote: 1. A ball of compressible, soft or string
like material, or 4. The rounded end or pedestal supporting some turning object
or even 6. Human leg, in the expression. “op de proppen komen”: to bring
something up, talk about something, mention something, etc./ While Collins
Cobuild (Harper & Collins London 1991) have the following to say:

2. A prop is 2.1.
an object, for example a stick, that you use to support something in a
particular position. E.g. He used two sticks as props for the rope./ Or: Juan
put a prop in the troubadour's arse.

But also, and one
wonders what to think of this:

2.3. an object or
a piece of furniture that is used on a theatre stage when a play is being
acted, or when a film is being made.

A prop here
doubles as a theatrical object.

This tiny bit of
content sets one (a) to laugh, (b) to weep, (c) you scared us, (d) you feel
tricked, (e) you think it’s sweet, (f) the meaning is lost.

Under
multiplication, the factor zero reduces everything to naught.. Nil./ Starting
point, end point. Zilch, gone, lost, over and done. Here = there. Closed =
open. White = black. Content = 0.

In the long run,
all marginal bits of content taken together equal zero../ Zero balances
mathematics and prospection.

CONTENT RAISED TO
THE POWER CONTENT = 0

This is no law,
even if it could become one after emptying this or another bottle.

Meaning, meaning,
I tend to think I can conclude from this, is not only temporary... essentially
it is also flat out indecent./ After having effectuated the essential
purchases, every message ends up in the waste bin.

Let us now take a
better look at the following sentence which simulates meaning: The girl’s
attention was drawn willy-nilly to a blotch on the wall./The breathless
starting point of imagination? This blotch appeared to be…/ (a) the voice of
another love-affair… illuminated, painted,/ craved Nirvana. Chaos. (b) the
abstract and visceral middle between things that are not. I quote. But it is
not (c) gruesome, none is gruesome, none is (d) wonderful, none is wonderful.

"Gruesome
joys are there," I thought, quoting Manganelli for a while, "one can
only experience in hell.

The blotch
electrified me. So, I had hammered a nail into the wall... During the few hours
that I didn’t spend sleeping, to be sure... And then? The method was of an
extreme simplicity, the act didn’t seem to represent anything in particular...
until... suddenly... I noticed that I had used my bare hands./ Afterwards, I
ended up in the emergency ward of a local museum which I left a few weeks
later, skipping joyfully homeward past the peersed abattoir of the local
squatters./ This blotch, this unrecognised, humble masterpiece, (a) endeared
me, (b) made me roll over with laughter, (c) I looked askance, terrified, and,
(d) terrified you, (e) I coughed and hurriedly went nowhere." (October
1995)

SCHRIFTUUR -
Edith Doove, Criticism of the projects by Ignace De Vos and Dirk Peers.
“Recensie over de projecten van Ignace De Vos en Dirk Peers. Published in “De
Standaard”, Wednesday 17 June 1998. 
"--- The tension between figuration and abstraction is extended in
the work of Chris Peeters which is shown in the cellar./ Peeters is gradually
becoming an important cornerstone of the repertoire of Croxhapox. The room is
filled with coloured paper, covered by all kinds of stencils. It could be
patterns for dyeing fabrics, and Peeters probably could be a good illustrator.
For the moment, he gives these drawings the freedom to reach out on their own.”

Verzamelwoede (2007, Abbey Maagdedale, project under the sign of Heritage Day [Erfgoeddag])
One of the many collections is a collection of volumes by Georges Perec.

“53 jours” – 1989 P.O.L. Gallimard
“53 jours” – 1989 P.O.L.
Alphabets – 1985 Galilée
Beaux présents belles absentes – 1994 Seuil
Cantatrix sopranica L. – 1991 Seuil
“Cher, très cher, admirable et charmant ami...’ – correspondence Georges Perec & Jacques Lederer – 1956 1961/ 1997 Flammarion
De dingen – 1990 Arbeiderspers
Een kunstkabinet – 1991 Arbeiderspers
Een man die slaapt – 1996 Arbeiderspers
Ellis Island – 1995 P.O.L.
Entretiens et conférences – 2003 Joseph K.
Espèces d’espaces – 1974/ 1997 Galilée
Georges Perec / par C. Burgelin – 1988 Seuil
Georges Perec une vie dans les mots / par David Bellos – 1993 Seuil
Het leven een gebruiksaanwijzing – 1995 Arbeiderspers
Ik ben geboren – 2003 Arbeiderspers
Je me souviens – 1978 Hachette
Je suis né – 1990 Seuil
Jeux intéressants – 1997 Zulma
La boutique obscure – 1973/ 1993 Denoël
La clôture et autres poèmes – 1980 Hachette
La disparition – 1969/ 1999 Gallimard
>La Ruse /essay/
La vie mode d’emploi – 1978/ 1997 Hachette
La vie mode d'emploi - 1978 Hachette /eerste editie/ 
Les choses – 1965 Julliard /eerste editie/
Les choses – 1984 Julliard
Les choses – 1985/1989 Ed. 10/18 
Les choses – 1990 Julliard
Les mots croisés – 1999 P.O.L.
Les revenentes – 1972/ 1997 Julliard
Le voyage d’hiver – 1993 Seuil
L. G. – 1992 Seuil
L’infra-ordinaire – 1989 Seuil 
Nouveaux jeux intéressants – 1998 Zulma
Penser/classer – 1985 Hachette
Perec/rinations – 1997 Zulma
Quel petit vélo à guidon chromé au fond – 1966/ 1988 Denoël
Récits d’Ellis Island – 1994 P.O.L.
Ruimten rondom – 1998 Arbeiderspers
Tentative d’épuisement d’un lieu parisien – 1975 Chr. Bourgeois
Théâtre I – 1981 Hachette
Un cabinet d’amateur – 1979/ 1988 Balland
Vœux – 1989 Seuil
Wat voor brommertje – 1993 Arbeiderspers
What a man! – 1996 Le Castor Astral
W of de jeugdherinnering – 1975/ 1991 Arbeiderspers

>Adler, Gosbert (D). crox 53 (October 1996): Interiors. A solo project.

Bassleer, Frank. Project in the little cube, january-february 2008.

>Bauwens, Ria. November 2005. Solo project. Two series of photographs: a set of black & white selfportraits, and a set of color images./ Member of the crox-team. Coordinates the 2006-2007 crox mailart call titled whataboutcroxhapox?./ In the mailart circuit known as Frips./

>Blondeel, Maria. crox 17-II, copy art project (1992)./ crox 30, a window project (October 1995)./ crox 57, an environmental installation in the basement of Aannemersstraat 54, on December 21, 1996.

>Böing, Thomas (D). crox 191 (October 2006). A series of photographs with cut-outs (and other material).

>Boudia, Samir. crox 153 (May 2005). Digitally manipulated pictures.

>Braeckman, Dirk. crox 51, Open deuren. /Participates in the 1996 Open Doors project./

Bruneel, David. crox 145-I & crox 145-II (Basics 2). Two series of photographs that document a similar project. Both series document the changes of a coalition of salt and red wine, or maybe some other product.

>Buta, Florin (RU). Newspaper issues as a ground layer for painting.

>Carels, Edwin. crox 3, solo project (1990). First intervention as photographer is the cover of the En Passant catalogue (1991), a picture made in Budapest. For his second intervention as photographer, and his second solo project (crox 24, January 1995), he sticks to photographs made by others, re-inventing the whole thing by focusing on minimal fragments of each picture.

>CarianaCarianne (US). crox-book NR 3: BORDERS (2006). Images on pages 21, 23, 24, 26, 29, 31, 58 and 77 are by CarianaCarianne. All others are by Marc Coene.

>Coene, Marc. crox 99, his first solo project (October 1999), coincides with Hans leaving for Spain and the end of the second crox-period. His second solo project, crox 123, five years later, gathers a series of enigmatic black & whites and some color images in addition. See video.google.be (croxhapox)./ Member of the crox-team. Creates the basic outline of the crox-encyclopedia (2004) and documents every single project. Crox photographer.

Cornelis, Frederik. crox 78 (1998), triptych with Marc De Clercq and Anja Hellebaut.

>Cotteleer, Anton. crox 145-I (2005). Asked to document his way of working and thinking Anton added the photograph of a cat. The picture got glued to a thick mass of mashed wood and the subject on it looked as if it knew that it was the usual thing, nothing else could or would or should have happened.

>Cox, Wouter. crox 12 (januari 1991). Polaroids./ crox 17-I (1991), copy art project, and some more polaroid.

Danneels, Helena. crox 175-I (2006). Helena, in 2006 still a teenage, presents a series of black & white photographs meant as school work. Most of it is splendid.

De Beerst, Xavier. crox 17-I (1991). Copy art project.

De Brabandere, Sanne. crox 267. KASKweek 2008.

>De Clercq, Marc. crox 51 (1996); review in De Morgen./ crox 78 (1998), triptych; other artists are Frederik Cornelis and Anja >Hellebaut./ BRAINBOX (2006), level two: participates as a photographer. See the brainbox-file.

Decorte, Wouter. crox 145-I (Basics 2): a series of photographs that document the work on his many projects.

>Defrancq, Evert. crox 112, window project.

>Degrève, Maria. crox 140 (2005).

>Delodder, Tuur. crox 148 (september 2005). Photographs of a work in progress, Tankgarage, and its final result. The whole thing is a combination of Evironment Art Experience, the Tankgarage (final location of the vehicle is Zelzate), and the act and result of documentation.

>De Neef, Dirk. crox 26 (1995) solo project & crox 51 (1996), the Open Doors project, combining work of artists and neighbors./ Window project (crox 48, June 1996). The window project is a wall of images made in Berlin, portraits of stone faces.

>De Wilde, Johan. crox 98 (June 1999) & crox 178 (May 2006), solo projects. Crox-card NR 29 (Oslo/ 2005). Crox-book NR 2: PARTICLES (2006). The qualities of JDW as a photographer are far beyond anything said. It is the thing seen, and the thing seen is the thing said. Quote: makes any image part of the unseen image that could have been a perfect one. Makes it perfect enough not to be imperfect. Perfect. Makes it imperfect, more perfect, and imperfect. Makes it perfect, again. Again, makes it imperfect. And again, makes it perfect.

De Windt, Peter. crox 51, Open Deuren (1996).

>Dheedene, Stefaan. crox 152 (October 2005): a photograph made in Rwanda.

>D'hondt, Lieve. crox 51, crox 95, crox 124, crox 145-I, crox 145-II, crox 188-V. As a photographer she participates on 2nd level of Brainbox, being part of its 1st level as well. Photography is a basic component of most of her projects. One could call it attitude as well: the part of being a viewer and looking at things.

DD Trans. September 2007. One photograph showing a cloudyed summer sky (Italy?) and the artists's hand holding a cigarette.

>Engels, Christophe. crox 162, ARMEE LEGER (January 2006). Digitally remastered photographs. One of the participants of Basics 2, first edition and sequel. Images with a solid and cold atmosphere. Fishing goldfish in the artic.

>Engels, Ludo. Member of the Experimental Intermedia Foundation. His first crox solo is a window project, crox 56 (November 1996). Second appearance is January 1998, with a second solo project, crox 71.

FOTO+ May 2005. /Review by Filip Naudts. A portrait of crox activities (focus on photography) with works in addition by Anja Hellebaut and Samir Boudia./ Recensie, auteur Filip Naudts. Een biop van croxhapox (focus is fotografie) met beeldmateriaal van Anja Hellebaut en Samir Boudia.

Gysen, Evelien. Project in the little cube, May 2008. Slide projection of a series of photographs depicting handmade mountain sceneries.

>Hellebaut, Anja. /crox 78 (1998), a triptych with Marc De Clercq and Frederik Cornelis./ crox 142 (2005), solo project./ crox-cards 27 & 28.

Hofman, Katrien. /crox 106, window project titled Tante Wieze. Photographic elements.

>Huyghe, Thomas. crox 104, 'The First Ten' Group event because of 10 years. The work of Thomas Huyghe is a photographic collage. Samples of this technique appear in a >mailart correspondence from the late nineties.

>Krone, Larry. crox 97 (June 1999). A portrait of Larry figures in the 'The First Ten' catalogue (De Eerste 10), a retrospective event on the first ten years of crox activity (1990-2000). The photo pictures Krone as a handsome crooner, lost in the lonesome West.

>Lagast, Peter. crox 110 (Basics 1/ 2003): a mixture of drawing and photographic elements.

>Leus, Nicolas. crox 166 (February 2006), Zenpunk. One of the elements in his crox solo is a slide projection of photographic material.

>Libens, Daniël. crox 11 (december 1990): Cahiers panoramiques. Review in De Gentenaar; >Pültau.

>Morrens, Peter, 'de helft van het werk' - Half of the work. Crox 211 (May 2007). A miscellanious collection of drawings, paintings and photographs.
Crox-book NR. 10 (release June 2008). Legs (photographs made in Tokyo). Event #1 (reading from Perec) en The Head, other 2006 event. A miscellanious listing of dozens of projects, events and writings.

>Mulder, Lou M. C. crox 157 (november 2005): Architecture of the soul./ Participates in the brainbox project (2006).

>Niblock, Phill (US). crox 36, window project (January 1996).

>Nijs, Nathalia. crox 138 (april 2005). Window project.

Parmentier, Johan. crox 145-I (June 2005).

Pittoors, Tinka. Prenuw. Unwanted Monument. (April 2006) crox-card NR 46 is from the same series.

Renneboog, Lucie. Subsurface intern communication (while) seeking for a presentation. A or B. crox 263 (mei 2008). Photographic elements.

>Snopek, Alda. crox 139 (april 2005), Tunnel-Vision./ crox-card NR 31 (2006), from 'Séries Noires'.

>Soetaert, Els. crox 145-I (Basics 2/ 2005). Iceland.

>Thornley, Patricia (US). crox 89 (January 1999).

Tolchinsky, Debra (US). crox 183 (June 2006). A series of bizar portraits, most of it based on a simple polaroid.

Van Acker, Boris. crox 181 (June-August 2006). Window project.

Vanden Meersch, Els. crox 165 (February 2006)

Van Dorpe, Stijn. Window project, May 2008.

Vercaemer, Kim. KASKweek 2007.

Verherbrugge, Jan Willem (NL). crox 113 (January 2004).

Vincart, Caroline. crox 156 (November 2005).

Vosters, Vadim. crox 145-I (June 2005).

>Wiels, Jan. crox 145-I. A polaroid.

Wood, Reid (US). crox 175-II. Mailart project entitled Havent-Garde. The series is based on daily photography.

>Zoete, Dirk. crox 60 (1997): among the many drawings a few photographs may have been noticed./ crox-card NR 41: TRACTOR (2004).

poëtisch, poëzie, voor recensenten bekt het lekker. Een recensent van Het Volk heeft het over de poëzie van de armoede (>wandeling). DP ziet poëzie in 'haar kille glorie, schoon en steriel'. PURE POEZIE, titelt Edith Doove als ze het in 1999 over de projecten van Cotteleer en Thornley heeft: 'een verrassend poëtische tentoonstelling'.

In de catalogus van EN PASSANT (1991) komen twee gedichten voor: 'al steek ik mijn kop in de straatlamp zelf' uit Stil de Grain, een in 1989 bij Bert Bakker uitgegeven dichtbundel van Johan Joos, en een dubbeltje van de originele versie in typoscript van De bedoeling van het licht van elektrieke palen van Hans van Heirseele (later opgenomen in een publicatie van De Brakke Hond).

Apikov op één van de muren voorin (crox 1, art machine): 'Voor een banaan laat ik me wel verleiden.' In 1997 levert zelfde auteur crox poem N°1 tijdens de uitvoering van Piece for Typewriter, Tin Can, Flute and Voices. Het gedicht is het eindresultaat van een door toeval gestuurde performance op schrijfmachine. Tijdens de performance hanteert de auteur dezelfde methode die hij voor Herringtrade and the Imagery (1991) gebruikte, een cyclus van 5 gedichten die in 1992 in De Brakke Hond gepubliceerd werd: uit een willekeurig aantal boeken (voor de performance zijn het er een 12-tal) neemt hij op volstrekt willekeurige wijze een aantal zinnen over. De lengte van elke zin wordt bepaald door een met double-tracking vervaardigde en op een eenvoudige Panasonic radiorecorder afgespeelde compositie voor Tin Can, Flute and Voices. zie Crox poem

Wandeling (zie onder de W), een tekst uit zelfde periode als De bedoeling.

Look in thy glass and tell the face thou viewest, - door GDB vertaald als: In de spiegel staat uw beeld. In 1996 debiteerde Hans van Heirseele een syllabische vertaling van zelfde sonnet tijdens Het Mosselpannetje, een performance ter gelegenheid van het tweede solo project van Dirk Peers. De syllabische vertaling geeft een afwijkende en volstrekt blasfemische variant: Look in mijn glas en tel de drollen die ge ziet. In de tweede editie van Inmiddels, een crox-krantje midden jaren negentig, het ding kent 2 edities en is alleen ter beschikking van steunende leden, komen een aantal lezersbrieven voor, allemaal van de hand van Guido De Bruyn, waarin hij op een geestige en erudiete manier brandhout maakt van Het Mosseldiner en de tijdens die korte performance te berde gebrachte vertaling van het derde sonnet van Shakespeare. (zie Inmiddels)

MAJUSKEL van Johan Joos, het 12de crox-boek, wordt in 2009 gepubliceerd en in het Gentse Poëziecentrum publiek gemaakt, een aangename avond met performances van Eli Van De Vondel (gitaar) en brulboei Joos. 

IEDEREEN WIL FLAMINGO ZIJN, de 1ste dichtbundel van Evelien, op dat moment, juni 2010, 2de bachelor Multimediale Vormgeving. In de publicatie is nergens de naam van de auteur terug te vinden. van neemt de bundel een aantal keer na elkaar door (een variant op het eerder vermelde procédé) en ontdekt dat er 3 diersoorten in voorkomen: een raaf, een flamingo en de mier, en geen flora, alleen ijsbloemen en bloemenweefsel. Als hij het hier later met Evelien over heeft, geeft ze toe dat ze niet zoveel op heeft met planten. Wat er wel in voorkomt, en wel in verbazingwekkend rijke overvloed, is lichaamsdelen. De homo sapiens is alomtegenwoordig en wel tot in zijn meest gênante onderdelen: lijf, ogen, armen, benen, vel, vet, huidplooien, handen, vingertoppen, adem, rimpels, vingers, vetlobben, een gespierde rug, haren, schouders, een tandeloze mond, vel, handen, ouderdom, handen, blote armen, lange tenen. En het mooiste woord: prut. In de bundel komt het twee keer voor. Prut, alles is prut.

Predemocratic Republic

crox 108, Stefaan Dheedene: Ambassy of the
Predemocratic Republic (November 2003). First crox-project by Stefaan Dheedene.

The Ambassy of the Predemocratic Republic was housed
in Onderstraat at number 26. The African Republic, an archipelago of islets in the
Gulf of Guinea, offers itself for sale. The official sales billboard (in
Belgium drawn up by a notary) contains sales conditions generally analogous
with the conditions for the sale of Sabena, the former Belgian national
airline. Apart from he billboard - in the compulsory black on yellow - SD also
designed a flag and an emblem. The concept also includes a predemocratic website
(which he fails to finalise because of a lack of time and money) and a
predemocratic telephone number.

MR. THOMAS FUWELL NKOA, Diplomatic plenipotentionary
for the predemocratic Republic in Belgium - tel. 0494/345 872 -
thomas_fuwell_nkoa [at] yahoo [dot] com

FOR SALE

PREDEMOCRATIC
REPUBLIC

ARCHIPELAGO of more than 3000 islands (Tot. 501 860
km2) at the Gulf of Guinea (2°N 4°E). Inhabitants 11.948.719.

(Image: to the left, archipelago overview; most
westernly islands Mbalma-Piere and Njombel - Mbalma-Piere also being the most
northern islet; South of Njombel is Suza, to the East of which are Sangmelimo
and Perill, more eastern still Kousseri (the largest island in the group) and
Nigri-Pez; the most southern group is Doumo (1st North of the Equator) - To the
left, an outline of the African Continent and the precise location of the
archipelago.

CONDITIONS AND
PREREQUISITES

Subsequent conditions and prerequisites herewith
outlined in general are at all times to be considered as vital and
unquestionable for the actual and future governors and executives of the
aforementioned Predemocratic Republic and should consequently be addressed at
all times when showing interest for supplication to overtake economic and
political power of the aforementioned Predemocratic Republic in view of the
prospect of the forenamed plenipotentionary to concede power solely in exchange
of cash. Conditions and requisites being numbered 1 (one) to 7 (seven)
consecutively and without omission, should be taken as a whole and without
exemption.

1. Unconditional acceptance of 12.2 billion US dollars
(twelve billion and two hundred million) of external debts with the
International Monetary Fund (IMF) not withstanding or exempting the extra
necessary inputs and guarantees and key terms of bidding for a genuine and
durable takeover of political and economical sovereignty.

2. Proffering proof of political and economical
ability and competence to execute the transaction and to complete the proposed
plans for economic and political governance.

3. Proffering plans of integration of your
organisation into the Predemocratic Republic and the potential state revenues
following from aforementioned takeover.

4. Proof of extent of sufficient and appropriate
diligence and gesture performed by yourselves preceding the writing up of a
final agreement.

5. All significant contractual obligations and
material uncertainties regarding your organisation, whether judicial,
regulatory or financial, must of necessity be exposed in writing to the plenipotentiary
of the Predemocratic Republic before the write-up of the final agreement.

6. All significant internally or externally necessary
confirmations should be fulfilled and ratified in advance of the finally gained
contract.

7. Formal acknowledgment that all stakeholders and
stakes involved in aforementioned procedure of takeover are and will be in all
stages of understood procedure be in agreement with all applicable regulations
concerning money laundering.

Further information available at the office of the plenipotentiary
diplomatic.

Any and every one in possession of official proof of
identity and/or citizenship of either of the EU Nation-States is allowed to
start the procedure. Companies, whether limited or unlimited, should avail of
the coordinated statures and well-published documents detailing the extent of
authorisations of the executives. No terms for starting or finalising the
procedure are imposed.

There is an audience or public for contemporary art - not the large masses that count for media ratings and viewing figures but a real audience, and that audience is less alienated from what is actually happening in the arts than what the minions or the counting fathers of the dismal media ratings economy can imagine.