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Peers, Dirk (1957-2003)

Peers, Dirk

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

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).

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


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.

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

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

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.

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.


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.

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

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.”