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2018

Opening Camionetjes opgraven, David Bade & Tirzo Martha

Deputy Mayor for Culture Anniek Nagels, FLACC, C-mine cultuurcentrum and the Department of Culture of the City of Genk kindly invite you to the opening of the exhibition David Bade & Tirzo Martha on Sunday 28 January 2018 at 3 pm.

David Bade & Tirzo Martha, two Dutch/Curacao artists temporarily set up their Instituto Buena Bista, a visual arts platform and training initiative established in Curacao in 2006, in the gallery of C-mine. The presentation of their often sociocritical and socially committed work is combined with an open studio in which the ongoing work they created together with the residents of Sledderlo in 2017 and 2018 is showcased.
For two months, these remarkable artists will turn the gallery into a breeding ground for talent, in direct connection with the wider city.

The exhibition is freely accessible from January 29 through March 18, 2018, from 10 am to 5 pm and one hour before and after the performances. For more information on the special events that take place during the exhibition, visit www.c-minecultuurcentrum.be.

The exhibition is a collaboration between C-mine cultural center and FLACC and was realized with the support of the Flemish Community and the Mondriaan Fund.

Nick Geboers


Nick Geboers (BE, 1987) lives and works in Balen, Belgium. In 2012 he received his BFA in Photography from Sint Lukas Higher College for Arts and Science in Brussels. He went on to The Royal Academy of Fine Arts in Antwerp where he obtained his MFA in Photography in 2014. He is currently working on the research project How To Hunt With The Camera, at The Royal Academy of Fine Arts, Antwerp and supported by FLACC.

As an image-seeker fascinated by its rich history, he is excavating the photographic medium from the functional to the aesthetic. First and foremost an image maker, he deploys an extensive variety of photographic instruments and techniques. He is also a collector of negatives that were once made for scientific or descriptive purposes but which appear now - when their context has been lost - as enigmatic artefacts.
Nick Geboers combines his own photographs and acquired images in visual constructions, provoking a wide gamut of possible readings. Diverse photographic traditions and their visual specificity suggest different narratives. Balancing between the position of an archaeologist and a visual artist allows him to work in a free space between hard and soft sciences, hoping to find concrete facts and poetic truths.

How To Hunt With The Camera refers to a book published in 1926 by William Nesbit. In his introduction, the author reminisces about a day spent on his grandfathers’ farm. On this particular day he shot two ducks. The first one was a direct hit. The second duck took off, but after noticing its partner was hurt, came back to offer help. This served the hunter well as he managed to shoot the second duck. Later in his life, the author recognised that the duck had shown compassion and loyalty. Every time William Nesbit recalls this event, he regrets having killed both ducks. At the end of this introduction he proposes to exchange guns for cameras and the book describes - in surprisingly many ways - how to apply the camera to photograph nature. Today, after nearly 100 years of technological and visual advancements, How To Hunt With The Camera still serves as an inspiration.

One particular camera Nick Geboers is interested in is the Fernkamera 3M*: a military apparatus developed during WWI. With a focal length of 3 meters, it was used to observe strategic points in the distance up to 20km far. It was exclusively owned and used as a surveillance instrument by the military, so other pictorial applications of this large format camera are left unexplored.
By interpreting, rebuilding and using such an instrument, Nick Geboers wants to research the complex relation between operator, apparatus and the subject.

*Carl Zeiss Jena started working on the design of the lens and housing in 1914. After WWI, following the treaty of Versailles, Germany was not longer allowed to produce military equipment. To bypass this law, Carl Zeiss Jena founded the company Nedinsco (Nederlandse Instrumenten Compagnie) as a subdivision. The Nedinsco factory was built just across the Dutch border, in the city of Venlo. This allowed the continuation of its production line of newly developed and specialised optics.
During WWII The Nedinsco archives were largely destroyed by fires caused by air raids. Whatever remained was lost in a second catastrophe, a flood of the river Maas. This series of events obscure the history of the Fernkamera 3M, making it a rare artefact on which little is known.

Sarah Joy Zwarts


Through the memory of her grandfather, Sarah Joy Zwarts (NL, 1987) takes us into the underground world of the coalmine, a world he was professionally connected with. At one time, he completed his military service in the Dutch East Indies - an experience that remains a constant in his life and whose memory is kept in a few souvenirs. His dream to study tropical botany, however, remains unfortunately unfulfilled. Is there a surrogate for it? Is coal not the residue of primeval forests that collapsed during the Carboniferous more than 300 million years ago? Zwarts describes the mine as 'jardins coulés' or sunken gardens and turns her grandfather's existence into a point of connection between the Indonesian rainforest and the formation of coal. In this way, her works become a dialog that spans millions of years and connects distant topographies. This challenging narrative perspective is based on chasms on an ancestral and paleontological level, which provide an interesting speculative space with respect to its visualization.

(quote from Het Verzonkene by Stef Van Bellingen)

In her project, Zwarts links – in a contentious manner – the history of her grandfather to the Carboniferous period. By including her own insights, she adds a third time period, namely the present. Her grandfather died when Zwarts was young and through this artistic project she aims to connect with that part of the family history that remains unknown to her. There are objects from his time in the Dutch East Indies (now Indonesia) and more recent letters that function as linking factors. The short time spent in the then Dutch colony was a very determining period in the life of her grandfather.

Setting out from this limited information, Zwarts creates an artistic space from which to explore, connect, and place. Series of watercolors unfold, often with very few differences among the various works. The production of series helps Zwarts in her search for the link between different elements. The medium gives her the possibility of coming and going, appearing and disappearing and the blending of foreground and background. These elements are not only typical for this particular medium, but also for time and memory, in which layers and time periods change, blend together, and form a new whole.

The power of her work lies in the simple-looking images that evince an archetypal clarity. Often they are monochrome and consist of a single plant, nut, bark, seed cone, or exotic object. They seem quickly executed, and often only one work is shown from a particular series of watercolors on the same subject, namely the one with the most optimal brushwork, composition, line, and color. This creates an openness between all the works, and a sense of mutual connection. Times and geographic locations are connected and slowly the story of her grandfather is uncovered, reconstructed by means of objects, letters and fossils. It is, rather than the exact rendition of a life, an essence of his life and dreams, evoked by his granddaughter.

The publication Jardins coulés, in which the entire text by Stef Van Bellingen is included, is appeared this year.

Call for Applications

The call is open for all visual artists. Due to the diversity of our workshops, the application is open for projects in various media and disciplines. Projects with interest in artistic labour, challenging the notion of a 'workplace' or with a focus on experiment are preferable. The work period is three-month full time or around 90 days, divided in several smaller work periods between February 2018 and December 2018. FLACC offers an accommodation, a workplace, covered travel expenses as well as a small production budget.
More info >>