The KASBOEK II exhibition was a unique collaboration representing a crossroad between art, commerce and society. On Saturday 23rd May 2009, KASBOEKcollective opened its doors for the second time at the KOP foundation in Breda. On Sunday 31st May 2009, KASBOEKcollective closed the KASBOOK II exhibition with a High-Tea-performance discussion at KOP, with the phrase “experience, enjoy, explore and experiment”.
Following their first exhibition in Antwerp in June 2008 the artists approached the KOP exhibition space as a blank page of an accounts ledger, which acts as an installation space. During the exhibition a composition is created in this space by the interaction between the artists, their work and the audience. This composition raises questions among the public and is on the verge of art and commerce. How do you approach this exhibition? Is it like an installation in a museum, or a gallery where you buy art, or is it a new experience because it is neither and both at the same time? How do you value it? And at what cost?
The current economic situation is in line with the concept of KASBOEK. How does the art world react in times of recession? What is the meaning of art when one only focuses on value? What guarantees can an artist give to social significance and cultural relevance if his or her art or does not have commercial value? During the High- Tea-performance the KASBOEKcollectief leads this discussion with leading representatives from the art world.
From 25th til 29th May KASBOEKcollective offers interactive tours to groups such as schools and businesses. They can take a look behind the scenes with the artists, meet them and start the discussion, and experience and sample their work.
Never again the wide trouser-leg timeBreda, 23 mei 2009 – KASBOEK in Breda
Whosoever makes art his core business benefits from what he invents. It goes without saying that, in art, there is nothing more valuable than invention. Yet it is less obvious than it seems. Most artists do the same thing. They make different work, but they tackle their art practice identically. Jojanneke and Cathalijne Postma, and Debbie van Berkel, demonstrate that it can be done in a different way.First of all, the three of them don’t do exactly the same thing: Jojanneke is a painter, Cathalijne is a jewellery designer, and Debbie is a graphic designer. In their individual disciplines they haven’t much in common, but more so in human relationships. Jojanneke and Cathalijne are sisters, Debbie sits in the middle, namely Debbie lives in Roosendaal, Jojanneke in the Hague, and Cathalijne in Antwerp.
Because they exchange their mutual sketch books, containing their own creative thoughts and expressions, they are constantly in touch with each other. These sketches are made in cash books, incomings and outgoings. They take each other in account and strike the balance. They have chosen to go public with their cashbooks in different cities. Breda is their second presentation. The first was in Antwerp. KASBOEK is on the move in time and place.
The hard part of working together in this way, is that each individual can still express herself in her own way. This requires flexibility and principles. It sounds like a contradiction, principles are often not as flexible. Or flexibility is the principle.
What KASBOEK does to make this work, is to find space in the cooperation, the space in between. You can see Debbie, Jojanneke, and Cathalijne are constantly on the move towards each other. It’s not a question of where they come from or where they are, but how they will encounter each other. There is always a possibility of not being able to engage.
The cash books they have made so far are gaining more and more in size. The pages show their contents. The cash books are overflowing at their seams.
Jojanneke, Debbie, Cathalijne show what they stand for, what they are now, where they came from, and what they are aiming for. They therefore create images that you aren’t able to imagine.
Alone they are not the same as the sum of the three together.
In this way they bring about what they create.
Behind every word there is a why and because,
In each image a where and when,
And with every human being a who or what.
There is a question and an answer,
A place and a time,
A person or a function.
You can determine in all cases
What will happen before or after.
On the way you are somewhere in between.
Art has just begun
And for the time being knows
More about where it came from
than where it’s going to.
You are close to the source, far away from your destination.
And what you envision
Is for the most part out of sight.
For what you really want to see,
You must be able to look around the corner.
What you undergo
Is not yet created.
Every now, passes,
It will never be wide trousers-legs time again.
They are dedicated to the hopeless
The unknown of which we know nothing.
Everything in which they still do not recognize themselves,
Lies in waiting.
By changing everything around themselves
They can stay where they are.
They are in Antwerp, Roosendaal, and the Hague
And especially somewhere else, because elsewhere is still nowhere. They will know where they are,
If they dare to pass.
You have reached your goal
If you leave your destination behind you
Only then will you have reached further than you thought you could.
Turning back, especially retracing one’s steps
Is no real option,
What lies behind, is what you yet have to encounter.
Stopping on the way before reaching your goal, is bad.
That’s called delay.
You will want to forget.
What you once held dear,
Has a lower price.
What was worthless
Gets a different value.
The mirror reflection is not yourself anymore
Once you have seen someone else.
The image is a phantom
It exists in between
It lies around the corner you haven’t passed,
On the next page,
In the ring you will be receiving tomorrow.
The image is in between.
It is not a mirror image,
Nor the eye that watches.
It’s what you want to touch
If it were tangible.
The invisible, the non existent
no more than a presumption
can be pieced together
in something you didn’t want to show.
A memory image
Becomes the appearance of expectation.
The image itself is not what it appears to be.
A cake with glasses
A bird on a branch
A ring on a pot
A saucer fixed to a cup
A brooch on the lines
Mist in the light.
The balance sheet of the reductio ad absurdum.
Now the twenty G’s:
It is a pity KASBOEK
Doesn’t start with a G
A nice sentence
In the guestbook.
Alex de Vries