Fri 23.03.18
Mon 31.12.18

Wandering Arts Biennial 2018


[EN] This year nadine vzw is organizing the third edition of the Wandering Arts Biennial (WAB).
The Wandering Arts Biennial is a research and production biennial that focuses on mobility, versatile production and presentation methods in the field of contemporary arts, and the nomadic practices of artists.
Because many artists and creative thinkers use mobility, nomadism and temporality as an instrument or creative method in their artistic practice, nadine vzw created the WAB in 2014 as an open platform where works can be shown, shared and communicated in an independent context during exhibitions, lectures, performances and other public activities. Each edition of the WAB is followed by a publication, designed by Überknackig and featuring contributions from all the participating artists.

After two editions that strongly focused on the participating artists and their researches and on strengthening their network, we find it is time to open up the biennial to the Brussels cultural sector.
In order to anticipate this ambition, nadine invited artist Mira Sanders and curator Maud Salembier to set out a framework for this year’s edition of the WAB and to share their networks.

This year’s edition of the WAB focuses on the following questions formulated by Mira Sanders: ‘let's eflect upon the idea of “wandering along a limit(s)” (that can be political, historical, cultural, social, physical or geographical). The question that follows is, “how can you form (an) image(s) of a wandering along (a) limit(s)?”’ 
This proposal serves as a path for participants to follow and to question.

[NL] Dit jaar organiseert nadine vzw de derde editie van de Wandering Arts Biennial (WAB).
De Wandering Arts Biennial is een onderzoeks- en productiebiënnale die zich richt op mobiliteit, veelzijdige productie- en presentatiemethoden binnen de hedendaagse kunst en nomadische praktijken van kunstenaars.
Omdat veel kunstenaars en creatieve denkers mobiliteit, nomadisme en tijdelijkheid gebruiken als een instrument of creatiemethode in hun artistieke praktijk, creëerde nadine vzw WAB in 2014 als een open platform waar werk getoond, gedeeld en gecommuniceerd kan worden in een onafhankelijke context tijdens tentoonstellingen, lezingen, presentaties en andere publieke activiteiten. Elke editie van de WAB wordt gevolgd door een publicatie, ontworpen door Überknackig, waaraan alle deelnemende kunstenaars een eigen hoofdstuk bijdragen.

Na twee edities die sterk gericht waren op de deelnemende kunstenaars en hun onderzoek, en op het versterken van ons netwerk, achten we het tijd rijp om de biënnale open te stellen voor de Brusselse culturele sector.
Om deze ambitie waar te maken, nodigde nadine kunstenaar Mira Sanders en curator Maud Salembier uit om een ​​thema uit te werken voor de editie van dit jaar en om hun netwerk te delen.

De editie van de WAB van dit jaar concentreert zich op de volgende vraagstelling die door Mira Sanders geformuleerd werd: 'laat ons nadenken over het idee “wandering along (a) limit(s)” (dat kan politiek, historisch, cultureel, sociaal, fysiek of geografisch zijn). De vraag die daarop volgt, luidt: "hoe kan je (een) beeld(en) vorm(en) van “wandering along (a) limit(s)”'.
Dit voorstel dient als een leidraad voor deze WAB editie waarbij alle deelnemers uitgenodigd worden mee hierover na te denken.



WAB 2018 – participating artists

- Antoine Orand -
- Bruno De Wachter -
- Buratinas -
- Christian Hansen -
- Davide Tidoni -
- Francesca Chiacchio –
- Isabel Burr Raty -
- Jesse Cremers –
- Shervin Kianersi Haghighi
- Kasper Demeulemeester -
- Marialena Marouda -
- Nikolas Lesthaege -
- Oracle (Michel Yang, Justine Maxelon, Caroline Daish)
- Steven Jouwersma -
- Studio Anatomy – AOB’ Master 1 Faculty of Architecture campus Sint-Lucas Ghent, KU Leuven (Teachers Jo Van den Berghe, Laurens Luyten and Mira Sanders) -
- Various Artists -
- Waend (Pacôme Beru & Pierre Marchand) -
- WAB collaborators Mira Sanders and Maud Salembier invite 
Chloé Schuiten & Clément Thiry -
Cristina Garrido -
Denicolai & Provoost -
Gudny Rosa Ingimarsdottir -
Till Roeskens -

All activities of WAB 2018 can be followed on our website and (The website will be updated soon.)

Bruno De Wachter


From his base in Brussels, Bruno works half-time as a technical copywriter and half-time on his own writing and walking projects. He published essays, translations and prose in the Flemish literature magazine Yang and in its successor nY. He started to write prose inspired by long distance walking. This is gradually evolving towards fiction writing. He has a special interest in the tension between the global and the local, and in the interrelations between the human body, language and landscape. He sometimes organizes group walks that are related to this artistic research. Apart from that, He also participate in other artistic projects that are related to literature and/or walking.

“Werner Lenz”
“The short biographical novel “Lenz” by the German writer Georg Büchner, published posthumously in 1839, starts with a description of how at the end of the year 1776 the mentally ill (today we know: schizophrenic) poet Jacob Lenz walks across les Vosges to the village of Waldbach, where the priest Johan Friedrich Oberlin, famous for his gift of curing the mentally ill, was based. Waldbach is situated in the Steintal, which had been a place of asylum for prosecuted Protestants since the beginning of the seventeenth century (and the stage of one of the most excessive witch burnings at the end of the nineteenth century).
In his travel journal “Vom Gehen im Eis”, the German film director Werner Herzog describes a walk from Munich to Paris in December 1974. His friend and film critic Lotte Eisner was diagnosed with cancer and Herzog believes that if he makes it to Paris on foot, sleeping along the way in empty holiday houses, she will make it. On his way he crosses les Vosges along the same route as Lenz did two hundred years earlier, passing through the village of Waldersbach (formerly called Waldbach), apparently unaware of the history of Oberlin and Lenz…
As if that is not enough of a coincidence, both text fragments of 5 and 8 pages respectively, describing a walk along the same route at the same time of the year, have more things in common… I would like to take them as a starting point for an artistic exploration. I would like to walk the same route and invite people to walk and reflect and create with me. Maybe the reflection will divert to other themes – the periphery, places of asylum or exclusion, inside versus outside… – and other media – pictures, a map, a performance…?”

Christian Hansen


Christian Hansen is a Danish artist whose work reveals the precarious distinction between fiction and reality, and the ways in which our mind's framework unintentionally imitates (and thus leaves unchallenged) the systemic and hierarchical structures inherent in life. For this purpose he deploys a variety of materials, such as video and sound for example, or his archive of observations, that relate to the infrastructural nature of cities and landscapes. Many of his performances, videos, and installation pieces underscore patterns of movement that repeat themselves in different spaces and places, and emphasize the ways in which these movements are connected to their surroundings. Most of his pieces - while autonomous in their own right - are in fact narratives that have been extracted from a larger whole; series of ongoing processes and activities that have no finite end in sight.

Davide Tidoni


Davide Tidoni is an artist and researcher working with sound and listening in a variety of formats that include live performances, audio works and workshops.
Davide will participate to the 3rd Wandering Arts Biennial taking it as a platform where to develop both his listening pieces and sound performances.
Since 2009 Davide has developed listening pieces through his workshops and research on sound, space and body. The pieces stage specific acoustic phenomena and guide the audience to encounter sounds distributed in space considering shifts in loudness, reverb, and time. Each piece sets a situation where the listeners experience sounds in relation to his/her own present self, exploring issues concerning contact, filter, and distance. 
Since 2013 Davide has developed sound performances where microphones and loudspeakers are exposed to unexpected situations. Through the staging of specific actions, Davide's performances reflect on the experience of physical presence, absence and loss. All of a sudden, microphones and loudspeakers cease to function leaving the listener in a suspended state of unfathomable silence.
Francesca Chiacchio

“THE WALL to introduce ‘A GUIDE TO WANDER PLAYFULLY’ has been presented on March 25 in occasion of WAB 2018 - KICKOFF weekend. The objective was to introduce a new work named ‘A GUIDE TO WANDER PLAYFULLY’, through drawings and maquettes. It was just a wall for the entire day and it became a stage for 15 minutes while I was trying to explain my way of proceeding, sharing ideas and show the process.”

From 20 November until 2 December, Francesca will be in residency at Tropicana with the projects
"J'aimerai réaliser des cartes postale de Tropicana et de certaines endroits du quartier autours pour mettre en place un système de jeu. Au même temps Tropicana sera ouverte à de passants, à de gens qui prennent un rdv, à des groupes, des écoles etc. Par l'occasion j'aimerai organiser deux ou trois visites guidés (des marches collectives) pour jouer toutes ensemble avec les cartes postale et la photo. Et peut-être j'aimerai organiser un photo de groupe collective le 1 décembre."
- MANTRA POP, avec Clément Thiry.
The performances will take place the following days 23/11 21h-22h30, 25/11 16h-17:30, 29/11 19:00-20:30.
Maximum 12 people can join inside to take part in the performance.

Isabel Burr Raty


Isabel Burr Raty is an independent filmmaker and performance artist, queering commodification processes of "goods" in order to explore the ontological crack between the organic and the artificially engineered, between the unlicensed knowledge of minority groups and the official facts. In her artistic research she interweaves new media, body/live art, lectures and participatory performance proposing hybrid narratives and bio-autonomy practices that play with synthetic magic and compose in situ Sci-Fi. Isabel is currently an associate researcher in, lecturer of Media art history in ERG Brussels (École de Recherche Graphique) and artist in residency in Amsterdam via the AFK.

The Beauty Kit Farm is an eco-friendly cognitive-pleasure oriented farm that harvests female genital fluids to produce beauty bio-products. It functions as a mobile research installation that adapts to the site-specific ecosystem of the space it inhabits, recycling and archiving living materials and producing within a symbiotic niche of synergic mutualism. This farm explores its own self-sustainable economic model of production and invites participants from all over the world to write “Sci-Fi chapters in praxis time”. During WAB Isabel will carry out the first experimental version of this farm and explore ways of making the beauty bio-products available for the public.
Jesse Cremers


Jesse Cremers graduated in 2007 at the Sint Lucas academy in Ghent. From the very beginning of his artistic trajectory, he was fascinated by movement and coming up with solutions for non-existent problems. Jesse's work is twofold: many works arise project-based in situ, on request of various art and cultural houses; but he also works on his own oeuvre inspired by travel and (found) material. His sculptures are rather large in size, but in the margins of this work smaller poetic pieces see the light.

Kasper Demeulemeester

Kasper Demeulemeester was born on a snowy January night in Brussels, Belgium, where he still lives and works. He studied Philosophy, History and American Studies in Brussels, Ghent and Antwerp. Kasper has been active as a photographer since the winter of 1997. As a spatial practitioner, he also works under the moniker Vrienden van Brussel.

In 3600 Steps (Photographic-Therapeutic Walks) a team of Subconscious Reporters wanders through the city, straying from street to street without a goal, without a plan, moving to a rhythm that has been set before. According to the abstract instructions they received before they started out, they photograph, but soon this part of their mission becomes ever less conscious, becomes part of the rhythm of walking and counting. The decisive moment feels more like a temporary release from meditation, like a swimmer coming up for air. While the Reporters make their unconscious way through the city, their simultaneous drifting turns into a choreography only visible for those who are not reporting. It might be that not all those who wander are lost, but these men and women lose themselves, if we hadn't all already lost ourselves.
While they are walking, the images they create can be followed online in real-time, without explaining where each was taken or who is the photographer of each image. A subconscious portrait of the city originates, as disconnected from itself as the Reporters are from themselves. 
This project takes the form of an event happening at different locations in the city at the same time, though it will afterwards also be available to the public as a spontaneous therapeutic public service.

Marialena Marouda


Marialena Marouda works in the fields of performance art and choreography. She studied philosophy and visual arts at Columbia University in New York, USA and continued her studies at the Institute for Applied Theater Studies at the University of Giessen, Germany. She is currently developing her research project Oceanographies in the framework of the artistic research platform advanced performance and scenography studies (a.pass) in Brussels, Belgium. 


Oceanographies is a research project that focuses on the relation between the human body and the vast body of the ocean(s). The urgency for this research is deeply personal and goes beyond the personal at the same time. Growing up in Athens, Greece, the sea was a companion and lover, always present in its different facets, a major part of everyday life, both implicitly and explicitely. Having lived in northern Europe for the last 11 years, I find myself separated from it and missing it intensely. The project is therefore a way for me to search for it in people’s memories. In a wider perspective, the ocean is centrally present in most of the globally significant events, such as “global warming” or the “refugee crisis”. Still, it is rarely considered as an actor or granted a voice. My research is directed towards summoning or evoking the ocean by means of ocean conversations that I lead with different people of varying proximity to it. The intimacy and vulnerability present in the conversation, as well as a certain element of “magic” are an integral part of the research. Is it possible to not just talk about the ocean, but essentially with it? And what kind of archive does this conversation imply?  

Oracle (Michel Yang, Justine Maxelon, Caroline Daish)

Michel Yang (BE/US), Justine Maxelon (BE/DE) and Caroline Daish (BE/AU) created Oracles in December 2015. Each performer conjures, coaxes and excavates interiority from their unique approach to voice and body. The Oracle project was established as a need to voice, to heal and to collaborate.
Oracle reads different spaces; train stations, parks, institutions, forests, public libraries, urban gardens, waterways and private living spaces.
The spectator receives the reading as a visual perspective, sonic experience, and spatial-social relation – an alternative space surfaces, a reading with thoughts, character and history of its own, revealing a prophesy embedded in vocal sounds.
The Oracle practice aims to sustain individuality within the collective moment. As the word suggests, Oracle has an attention to ‘togetherness’ and individual agency.

Shervin Kianersi Haghighi

Shervin Kianersi Haghighi  is an artist and researcher. In her work, she investigates how ‘invisible performance’ can make use of the gestures we employ in our everyday routines. She focuses in particular on concepts that seem to articulate a deficiency, such as slowness, failure or laziness, and seeks to question the hierarchy of experience that such concepts suggest.    

Her work mostly happens in public or other non-art spaces where people do not normally expect to see an artwork. Currently she lives and works in Brussels.

Steven Jouwersma

Steven Jouwersma graduated from the Frank Mohr institute in Groningen in 2007 in the direction of Interactive Media Enviroments. He lives and works in Brussel.
His artistic practice often starts from a social process where he tries to find ways to work with people in an intensive way. This can result in the formation of musical bands, performances, public interventions, film recordings and sauna sessions as responses to certain economics of attention and interests that are present at the place where he works.
The situations he ‘organises’ are often in public. With a sense of humour he tries to move and question the social and political positions of the audience and the performer.

The Common Sweat Sauna is a real working sauna made only from recuperated materials. The first version of the sauna was built in the public space of Brussels and immediately opened up to the public. The project intends to create a free nomadic urban sauna space that diverts from the logic of commercial and individualized wellness and that de-colonizes the public space. During WAB 2018 a second, more mobile, version of the sauna will be built and move through Brussels.

Studio Anatomy - AOB Master Faculty of Architecture KU Leuven

Studio Anatomy, a master studio at KULeuven Faculty of Architecture campus Sint-Lucas Ghent, traces socio-historical layers, starting from the topography (geology, the vertical section) and stretching as far as the full scale architectural (constructive) detail (the section, again), incorporating construction in the design-research process from the very beginning. Doing so, Studio Anatomy covers the full stretch from poetics to technics in architecture.
Studio Anatomy critically questions the too speedy nature at the surface of things we see (in architecture)—the superficiality of the world—by cutting into and under the skin of things (architecture). Alberto Pérez-Gòmez suggests that the section is of a foremost importance in the architect’s work, as a prediction on the casting of shadows, pointing at the anatomic nature of the section that, applied by the architect, “break[s] the skin of things in order to show” (Pérez-Gòmez 2006), completing his argument with Merleau-Ponty, “how the things become things, how the world becomes a world” (Merleau-Ponty 1964). This cutting into substance is resistant, hence it slows down our acting and intensifies our thinking. ‘Slowing’ instead of speeding. Because ‘slowing’ permits one to perceive, absorb and embody longer, better, deeper. Depth is the first, not the third dimension in Studio Anatomy (Van Den Berghe 2012). Through this act of cutting, which is a way of making with the thinking hand (Pallasmaa 2009), the investigated subject (architecture) is being anatomised and better understood.
Teachers: Prof. Dr. Ir./Arch. Laurens Luyten, Dr. Visual artist Mira Sanders, Prof. Dr. Arch. Jo Van Den Berghe

Studio Assignment 2018
By means of wandering along limits (Sanders 2017) (Eisenstein 1938) (historical, constructive, political, cultural, …), points of (p)reference in the architectural topography of the Museumsinsel have to be identified and located. The plans and observations of Roma by Nolli (1748) and Piranesi (ca. 1774), as well as Roma Interrotta (Sartogo 1978) (Delbeke 2011), are the main references of this assignment. Isn’t Berlin another interrupted city?
These points of (p)reference clearly constitute ‘a place’, into which a suite of rooms has to be designed as a new pavilion within the site. This suite of rooms constitutes an antichambre, a chambre, and finally—and only for those who want to make an effort by approaching, going through transitions between ‘out’ and ‘in’, from room to room and through the meticulously designed transitions between these rooms—the desired moratorium space (the third room) as a celebration for Being.Human.Body.Architecture can be discovered. It would be wrong to insert this pavilion as an isolated ‘object’ onto the site. Rather, the newly designed architectural body should be inserted into the site (Moravánsky 2005) by intimately engaging with, or coming forth from, or penetrating into, or growing out of, one of the existing architectural bodies. A special interest for the historical presence of the site should raise questions such as: how to engage, as an architect, with a loaded architectural history of a place, when intervening architecturally in this place today?


TAFEL is a website developed by Neri De Meester and Maud Gyssels. It was created as a communal table of content where to eat, work, write, draw and sew. By using TAFEL, certain subjects and objects get valued, without forgetting the continuous instability and shifting of their meaning and image. TAFEL shows work-in-progress and in-between links and connects the things we love.
Besides the virtual website, TAFEL organizes conceptual dinners called SOUPER. These can be transformed, expanded or exchanged at any moment. They became a hybrid form, floating between an online platform and real life matter and encounters. This multifunctional table and its location is the starting point for the menu.

The third edition, SOUPER III, at the Wandering Arts Biennial will be a sum bigger than the parts. The menu will explore all senses and their limits will cross over. Lick your nose and sniff your ears, dinner will be served soon.

Neri De Meester, fashion designer, raw food chef, and Maud Gyssels, artist, started TAFEL in 2016. They organized SOUPER I at Workspacebrussels (2017), Kunst & Zwalm (2017), and at home in Ghent (2017), and SOUPER II at Tropicana, Brussels (2017).

Various Artists

Various Artists is a Brussels based arts collective with 24 fictional members. Within Various Artists most of the activity is concentrated around practicing duets, where a primary actor is combined with a secondary player. A thematic, or a skill is provided by the former, and can be repeated until exhaustion.
The collective is a Gesamtkunstwerk where all research topics and artistic practices of its 24 members come together in collaborative installations or projects.

Waend (Pacôme Beru & Pierre Marchand)


Wænd is a Brussels based organisation dedicated to subjective & critic cartography.
Developing long term research within the field of territorial narratives & representations, they collaborate with artists, universities, researchers, and citizen driven organisations.
As an online tool, Wænd provides a web platform for subjective and collaborative spatial publication. This application is open source and under constant development.
As an organisation they run workshops, give talks, and drive questioning on spatial representations and cartographic diversity.
wænd has been initiated by members of Atelier Cartographique, a collaborative network of professionals involved in data visualization (with Pacôme Béru, Pierre Marchand, Pierre Huyghebaert, Sophie Bioron). 

WAB collaborators Mira Sanders & Maude Salembier
Mira Sanders studied painting and multimedia at LUCA School of Arts Brussels. She focuses on the positioning of objects, people or events in physical spaces, and on the actual terrain. Her visual language consists of meticulous lines, markings, borders, routes, maps, plans and drawings that describe and redefine spaces, and outline imaginary journeys, in an attempt to surpass the limits of language. In 2007 she was one of the laureates of the Young Belgian Painting Award. Her work has been shown at Galerie VidalCuglietta (Brussels), Galerie MDAC Rochechouart, ARGOS centre for art and media (Brussels), BOZAR (Brussels), deSingel (Antwerp), Museum Dhondt-Dhaenens (Deurle), Centre Pompidou (Paris), Huize Frankendael (Amsterdam) and CEAC (Xiamen), among others. Mira Sanders is a lecturer at the Faculty of Architecture Campus Sint-Lucas (Brussels-Ghent) KULeuven. Beginning of 2017 she completed her Phd in the Arts, Le Journal d'un Usager de l'Espace: About the (Im)Possibility to Form an Idea of Limits, at KU Leuven.
Maud Salembier graduated at the ULB in art history as well as film analysis and writing. She is a curator and a professor of history and contemporary arts. In 2014, she organized artist residencies in Brussels followed by solo exhibitions of Lodewijk Heylen (Belgium) and Eva Lacour (Denmark). In 2015, she curated a group exhibition in an abandoned space in Turnhout, which featured, among others, works by Michel François and Ann Veronica Janssens, Alain della Negra and Kaori Kinoshita, Bernard Villers, Céline Gillain, Edith Dekyndt and Benoît Platéus. And an exhibition for WAB 2016 with works by Léa Mayer, David de Tscharner and Various Artists. Currently, Maud Salembier is preparing a group exhibition entitled NORMA (with Sophie Whettnall, Martin Belou, Alberto Scodro, Michael Vandenabeele, ... etc.) for September 2018.


Chloé Schuiten & Clément Thiry

Chloé Schuiten & Clément Thiry love to experiment with new and alternative lifestyles, to extract ourselves from the world and rethink it while sleeping on it.
Chloé & Clément met in February 2015 at an experimental carnival. Since then they have been meeting on a regular basis to fulfil their need for life experiences. They turn everything upside down in order to set themselves apart from everyday life and observe society from a distance. They tackle the three most fundamental aspects of everyday life : to eat, sleep and work. Their dynamic allows them to rapidly project themselves into delirious fictions and to fully realize them.
“In September of 2017 we created a new outdoors experience. We needed to disappear for good from the human mess while still being at the centre of it. We wanted to vanish, do nothing, to be thoroughly passive. So we dug a hole on a roundabout and we went in hiding for a week without food, doing nothing except draw our dreams on empty water bottles.
Then in March of 2018 we built a suspended nest made of old duvet sewn together and we settled in. We made it our offices for a week and covered the inside with erotic and wet paintings.
In parallel to these experimentation capsules we have designed performative installations, lectures, shows and workshops to showcase our work.”

Cristina Garrido

Cristina Garrido’s artistic research investigates the value that is culturally assigned to objects; to a large extent, those objects classified as art. Her production, through specific, repetitive and meta-referential gestures, focuses on the circulation of these objects, the study of the exhibition, as well as the curatorial practice. Through these gestures, which take various forms (installations, publications, intervened objects, etcetera), Garrido seeks to expose the mechanisms of promotion and valuation of the art object, proposing a critical reflection about the – physical and digital – exhibition space and opening many of her works to the participation of others.

Denicolai & Provoost

Denicolai & Provoost have been working together since 1997. Within the aesthetic and political intimacy of their artistic process, they question the artistic freedom given to artists in our Western, so-called democratic societies. By setting up temporary occupations, they circumvent reality and address the signals and limits of public space, as well as the relationship between the public and the intimate atmosphere.

Guðný Rósa Ingimarsdóttirí)

Guðný Rósa Ingimarsdóttir produces drawings and paintings with many layers, which she cuts, peels and carves – during or after its making, aiming to get closer to the essence. Every work has its own geometric structure and system, and flirts with the borders of abstraction.
At first sight one can often not situate the work within figuration or abstraction. The work builds itself slowly – some works can take up to 20 years in their making – each line traced or erased (removed or not) has equal value – the things that stay are equal to the things gone.
In her art Rosa is showing a macro and micro version of the world, which stands for inner and outer sentiments. Pain, marvel of the simplest things, acceptance and mechanism are some key words to describe feelings that lead her to creation. She is inspired by personal experiences and feelings, while at the same time she is showing universal emotions such as vulnerability and doubt.

"starting points to time travels: a box of responding letters to those now missing.   
recovering stories of places, sharing of moments and/or actions.
reconnecting with individuals now absent or changed.
rediscovering people still close and those with whom paths have now parted.
following a timeline.
the year of '87.
the year i left my language almost unspoken."

Till Roeskens & Mathilde Spini

"En pâturant" ... this is how many adventure tales of the traditional sung repertoire begin. The "pastura" where Till Roeskens & Mathilde Spini will be talking about here is a territory with fuzzy and constantly repulsed boundaries that they explored for nearly a year with a herd of goats near Marseille. As they did not work together but alternately, they spent part of the day writing letters to each other, exchanging their observations, their thoughts, their readings, their dreams, drawing small maps, constituting a shared diary of this slow crossing seasons and places. The evening at Argos will be a first attempt, fragile and adventurous, to publicly share some fragments.
With a passion for applied geography, visual artist Till Roeskens belongs to the family of explorers. His work evolves out of his discovery of a given territory and those who are trying to draw their own paths through it. What he brings back from his wanderings, whether in the form of a book, a video, a slide show, a lecture or other media, is never meant to be a simple report, but rather an invitation to exercice one's own perception, an open question about what we are able to seize from the infinite complexity of the world. His ‘attempts to find his bearings' are made with a constant concern for reaching an uninformed audience, sometimes transforming them into co-authors of the work.