Currents #5: I spy, I spy a little lie
We see, we hear, we read, we exchange,
and we get lost.
I Spy, I Spy a little lie arose in response to growing frustrations regarding access to information and the valuation of knowledge. Recent events such as the Brexit referendum, undemocratic constitutional referendums in Poland and Turkey, and the presidential election of Donald Trump (which sparked the widespread usage of the term “fake news”), as well as the chaotic reception of the Catalan independence movement, created political turmoil and left the Western world perplexed and polarised. We ask: is it still possible to protect the truth in our contemporary democratic society? And, for that matter, has it ever been possible?
By re-examining the tools we use to communicate with one another, the works in this exhibition address how information and knowledge are shared today. In this era of digitalisation, virtualisation, and hyper-information, reality exists on levels which seem to surpass our immediate perception. In extent, cyberspace or what we might call the “virtual world” is characterised by a continuous flux of information, facilitating the transfer of our ideas as well as the production of knowledge. In this context, online communities not only access and create content but also assess and regulate its quality. Are we able to protect ourselves from echo chambers, filter bubbles, covert political propaganda, and fake news within this self-evaluating system?
An allusion made to ‘I spy’ (a game in which children are given clues of colour or shape in order to guess objects and thus develop their ability to categorise information) introduces the concept of play to the exhibition. What might seem like an innocent title at first glance, I spy, I spy a little lie evokes the idea that mere recognition of a dominant discourse does not grant access to truth, since such information is manipulated according to political policies, racial biases and consumerist agendas. Both individual and collective agency must be encouraged in order to refuse a passive citizenship where we would be reduced to the role of apathetic spectators.
For this project, the notion of play is activated through a scenographic intervention by the Italian collective Parasite 2.0, the graphic design by Roxanne Maillet (ERG Brussels), and further mediated in an educational program by Aurélie d’Incau.
Performances during opening
During the opening of the exhibition and on special performance evenings, there were special performances that were part of the exhibition: Colonial Cocktails by Alejandro Cerón, Office for Joint Administrative Intelligence (Gary Farrelly and Chris Dreier) and Word of Daucus, World of Doubt by Nicholas Hoffman
Henry Andersen (KASK Ghent), Felix Breidenbach (Kunstakademie Düsseldorf), Alejandro Cerón (Dutch Art Institute Arnhem), Nicholas Hoffman (Staatliche Hochschule für Bildende Künste Städelschule Frankfurt am Main), Aurélie d’Incau (MAFAD Maastricht), Jesuus, (AKV | St. Joost Den Bosch), Tim Löhde (Kunstakademie Düsseldorf), José Montealegre (Staatliche Hochschule für Bildende Künste Städelschule Frankfurt am Main), Ektor Ntourakos (AKV | St. Joost Den Bosch), Johanna Odersky (Staatliche Hochschule für Bildende Künste Städelschule Frankfurt am Main), OJAI (Gary Farrelly (Sint-Lukas Brussels) & Chris Dreier), Nadia Perlov (Staatliche Hochschule für Bildende Künste Städelschule Frankfurt am Main), Maria Gil Ulldemolins (PXL MAD School of Arts Hasselt), and Remko Van der Auwera (Sint-Lukas Brussels).
Isabel van Bos
Isabel Van Bos is currently coordinator of STRT kit in Antwerp. As a curator she was involved in the group exhibitions The Studio Interrupted (AIR Antwerpen, 2016), Spatial Sublation (WIELS Project Room, 2016) and AudioGuide (Kunsthal Extra City Antwerp, 2016). Van Bos has been invited by Katerina Gregos and the schwarz foundation for a curatorial fellowship at Art Space Pythagorion, Samos, Greece, in the summer of 2017.
Evelyn Simons is project coordinator of CAB. In addition she recently worked on Independent Film Screening (Independent HQ and Cinema Galéries Brussels, 2017), as well as on the exhibition and publication The Language We Use (Artenova, Mechelen, Belgium, 2016). In 2016 Simons joined the Beirut Art Residency and in 2014 she received the Curate Award of the Fondazione Prada & Qatar Museums Authority, for which curated the exhibition Driftwood. Or how we surfaced through currents (June – July 2017) in Athens. Van Bos and Simons previously collaborated on the exhibition Onder ons (CIAP Hasselt, Belgium, 2017) and on the aforementioned exhibition AudioGuide.
This is the fifth edition of Marres Currents, an annual exhibition in which emerging curators are invited to bring together recently graduated artists from art academies in the Southern Netherlands, Belgium, and Western Germany. In doing so, Marres provides a platform for young artists and curators, and contributes to an international infrastructure for talent development.
Marres Currents #5 | Je$uus
Marres Currents #5 | Maria Gil Ulldemolins
Marres Currents #5 | Aurélie d’Incau
Marres Currents #5 | Office for Joint Administrative Intelligence
Marres Currents #5 | Alejandro Cerón
Marres Currents #5 | Felix Breidenbach
Marres Currents #5 | Henry Andersen
Marres Currents #5 | Ektor Ntourakos