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See you in the Belgian pavilion at the 60th Biennale di Venezia

chapter Charleroi

Published on Feb 21, 2025

Modified 4 weeks ago

Dessin d'Ivo pour le chapitre Charleroi
Charleroi ⚀ PG + LMNO

In Charleroi, in the city of the giant Julia, ℘ℊ is imagined around several timeframes and culminates in a public banquet on Sunday, April 27.

Beforehand, on March 15, a fermentation workshop invites all interested and willing people to come and learn the basics of this preserving and canning technique. This time is dedicated to preparing the jars of fermented vegetables to be served during the banquet.

From April 21 to 27, the presentation of ℘ℊ slips into the streets of Charleroi. On digital screens of the city, several images recall the chapters preceding the return of the collective and the giants to Belgium.

On April 27, the ℘ℊ team, the authors of the catalogue, other accomplices and the public attend a public banquet for an afternoon. The guests take part in the preparation of the meal by bringing a cutting board, a kitchen knife and 200 gr of a seasonal vegetable for the making of a large surprise minestrone served during the banquet. The lunch is punctuated by readings, film screenings and presentations by the people who collaborated on the scenario of ℘ℊ. At the end of the banquet, a musical intermezzo with the giant Julia and the group of percussionists of Salamba brings together the participants to dance and talking further.

This friendly moment and collective digestion has been conceived as a collective step towards rethinking about the different elements shared in the publication and gathered through orality in 2024 with the giants' communities and all the people who have ℘ℊ on its journey, more or less directly.

The speakers at the banquet are Maximilien Atangana, Jean-Baptiste Carobolante, Benoit Dusart, Manah Depauw, Vanessa Desclaux, eli lebailly, Silvia Mesturini, Alexis Zimmer, as well as some former participants of the Young Curators Storytellers programme, Paula, Hugo, Guennadi, Joséphine, Josepha, Louis, Camille.

Workshop Fermentation Site
⚀ PG

make do

Published on Apr 8, 2024

Modified 1 month ago

Portrait Petticoatgovernment5
Collective portrait. N°1. Sophie Boiron N°2. Valentin Bollaert N°3. Simona Denicolai N°4. Pauline Fockedey N°5. Pierre Huyghebaert N°6. Antoinette Jattiot N°7. Ivo Provoost. ⚀ PG + LMNO

Portrait

Collective work is a horizon. We’re a group of peers working together with shared goals. At the same time, we are obviously multiple individuals. Working as a collective raises the question of how to organise. Working as a collective means handling the unstable situation produced by those focused on action and those focused on how to do things. It’s voluntarily entering into relationships and recognising differences.

Each person in the collective comes from their own disciplinary field (artistic, curatorial, architectural, graphic, typographic and cartographic). They have arrived with unique skills and expertise. The process of co-creation and co-construction of knowledge stimulates a play between each person’s roles and functions. In doing so, they also invest themselves critically, by constantly (re)evaluating their particular role.

It’s not a question of mixing up practices but rather of de-disciplining them, that is to say of putting them into relationship.
— Marie Preston ᓓ1

In this constellation, each person manifests, in their attachment to their practice, a policy compelling them to think of the project in their own terms. By formulating their obligations, everyone is led to justify and define themselves in relation to others. Each subject sets themselves up as the representative of an indeterminate system where limits are constantly negotiated. The sum of these constraints and the complexity of their interactions sometimes escapes others. Once one becomes aware of this postulate in each person, the act of co-creation then involves accepting one’s own vulnerability in the questioning of one’s skills. 

Moreover, the project around which the collective is gathered organises these constraints according to its own requirements. It invites us to construct new methods that grasp and go beyond the challenges of the respective practices. It demystifies their authority and complexity. It calls for the courage to break boundaries, whether of the institution or of the disciplines. In this way, the collective project emancipates itself from individuals and accesses their capacity to act themselves on their own practices. In other words, the design and production processes are also likely to impact those who produce the processes. 

According to Haraway,

Stengers cosmopolitical proposition […] is that decisions must be made somehow in the presence of those who will bear the consequences. […] Being 'in the presence of' requires work, speculative invention, ontological risks. ᓓ2

And this does not happen without disagreements. The collective is looking for ways to communicate and exchange. This requires us to take apart jargon that resonates differently for everyone. Conflict is immanent while working toward reciprocal understanding. It is also immanent in unequal degrees of availability and commitment. Creating a common space-time is a necessary challenge to ensure that we perceive the succession of emotions. 

Conflict is not aggression.
—Sarah Schulman ᓓ3

Without a leader or individuals holding formal influence over others, conflicts can arise. It is all about being able to collectively ensure that certain forms of underlying ascendancy – often unconscious – do not cause insuperable damage. This relies on the collective desire to complete the project successfully in sufficiently good conditions. The collective is a spider’s web whose threads, although stronger than steel, remain vulnerable. 

Consensus does not mean unanimity, it means that everyone’s needs and concerns are listened to and taken into account. Consensus, as a creative thought process, works well when there is sufficient time.
—Starhawk ᓓ4

  1. Marie Preston, "Héritages et modalités des pratiques artistiques de co-création", in Co-création, 2019.

  2. Donna Haraway, When Species Meet, Minneapolis, University of Minnesota Press, 2008, p.83. [translated by Thomas Clément Mercier]

  3. Sarah Schulman, Le conflit n'est pas une agression, 2021

  4. Starhawk, Webs of power: notes from the global uprising, 2002.

Lmno 6303
⚀ PG + LMNO

Biographies

Sophie Boiron, born in 1987 in Oullins (FR), lives and works in Bruxsels, is a graphic designer, cartographer and typographer. In 2011, she joined the Spec uloos studio. In 2015, she co-founded the Atelier Cartographique cooperative. She is a custodian of the Publi Fluor archive and part of the associated research group.

Valentin Bollaert, born in 1986 in Saint-Lô (FR), lives and works in Bruxsels, is an architect. In 2015, he created Nord (bureaunord.eu). He teaches at ENSAV La Cambre in the Interior Architecture studio.

Pauline Fockedey, born in 1988 in Mouscron (BE), lives and works in Bruxsels, is an architect and researcher. In 2012, she co-founded the collective orthodoxe. In 2015, she created Nord (bureaunord.eu). She teaches and is working on a doctoral thesis at UCLouvain in the Faculty of Architecture, Architectural Engineering and Urban Planning (LOCI).

Pierre Huyghebaert, born in 1969 in Leuven (BE), lives and works in Bruxsels, is a graphic designer, cartographer and typographer. A practitioner for 35 years, he has worked with, among others, visual artist Vincent Fortemps, the Spec uloos studio, the OSP association, the investigative magazine Médor, the Atelier Cartographique cooperative and the Bye Bye Binary collective. He teaches the Master Typography course at ENSAV La Cambre. He is a custodian of the Publi Fluor archive and part of the associated research group.

Simona Denicolai, born in 1972 in Milan (IT), lives and works in Bruxsels, is a visual artist. In 1997, she co-formed the Denicolai & Provoost artist duo with Ivo Provoost. Since then, they have also taken part in various collaborations. She teaches at erg– École de recherche graphique (School of Graphic Research) (BE) in the “Friche” multidisciplinary workshop. She is an active member of various agricultural collectives focusing on issues around food and medical autonomy, herbalism and land ownership.

Antoinette Jattiot, born in 1989 in Nancy (FR), lives and works in Bruxsels, is a textworker and curator. She was trained as an art historian and is linguaphile. She oversees public programmes at La Loge art centre in Bruxsels, teaches at ESA Le 75 (BE) and regularly contributes to catalogues and art magazines.

Ivo Provoost, born in 1974 in Diksmuide (BE), lives and works in Bruxsels, is a visual artist. In 1997, he co-formed the Denicolai & Provoost artist duo with Simona Denicolai. He teaches at erg – École de recherche graphique (School of Graphic Research) (BE) in the “Friche” multidisciplinary workshop. He works sporadically as a cartoonist for different magazines, under a pseudonym.

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Image 07 11 2023 A 15 29 45

In conversation

Christine Jamart (l'art même)

AM: What is the significance of working collectively with giants and their respective communities in this particular context of the Biennale di Venezia?

PG: The question of giants comes from popular culture. As such, they are here not so much for their artistic value, but for the questions they raise. This is what concerns us and brings us together here.

Pℊ: Importing a subject linked to popular culture into the Biennale is a conscious choice. That being said, each of us has worked closely with this form of culture for a long time. It’s an intrinsic part of the way we position ourselves. Then, obviously, arriving in Venezia with a project like this permits us to question the format of the Biennale. Very quickly, with the giants, the question of scale, including the one measuring the gap between popular and so-called elitist cultures, a question present for a long time in each of us and in our respective disciplines, posed itself.

℘ℊ: We’re aware that the perspective we bring on popular culture and folklore differs from the one we usually see in contemporary art, a perspective far from any judgement, or even cynicism.

Pℊ: It’s also an opportunity to ask questions about what we consider as falling under the heading of ‘art’, how we position ourselves and above all how to operate in parallel with these communities. We’re creating a story with them; together we’re constructing a scenario for which Venezia is only a stage in the process. How we travel down there, how we cross the Alps, how we slow down this journey, how it is broken down into stages. 

℘G: Giants, more than any other object of popular culture, take us into a story not only of scale, as has been said, but into a story of bodies, of customs linking us to others, to communities, to ways of organising ourselves. With questions of know-how and craftsmanship that have long existed but are being transformed and adjusted.

pℊ: A technology that is at once very crude and at the same time highly refined. The two scales exist side by side.

AM: The physical scale plays on contrasts: the very particular landscape setting of Resia, one stage in the giants’ journey to Venezia, makes them surprisingly small, while the architectural setting of the pavilion accentuates their gigantism. But if we’re talking of scale, we’re talking of vantage point. Are not these changes in vantage point central to your project? On the other hand, what do these co-created stories tell us about our contemporary world?

Pℊ: The fact that giants are tools operating within very local communities, anchored in their territories, in their villages, sometimes in a particular neighbourhood, tools co-created by members of these communities, truly motivated our interest. The vantage point you speak of allows one to look at the way these objects contribute to fostering imagination in communities and very localised governance, born of and nourished by specific places. And that’s something very present-day!

AM: Are there modes of governance that seem instructive to you, pointing to other ways in which society can function?

Pℊ: The idea is not to create new and globally applicable models, but to go looking to discover differences. It’s holding up a prism through which we view the worlds around us.

Lmno 6339
⚀ PG + LMNO

℘ℊ: The scenario is also nourished by the act of moving people and objects from place to place. Moving giants means setting groups of people in motion, bringing together several essential items that have taken shape very locally, coming together first in the Alps before moving into the pavilion. The multiple logistics of travel gradually create a kaleidoscopic vision of the complexity of the world in which we live today.

pℊ: We can say that this work is ‘agential’, to use a term applied to contemporary art. Agential in a much more articulated ecosystem than the one we are in, in a certain sense. This is one way of seeing things, but we can see the number of 800,000 visitors expected at the Biennale as smaller than the sum of all the spectators at all the activities of the giants that they would be participating in if they were not at the Biennale. Despite its aura, the Biennale is only a small and far from dominant event. There are many giants we couldn’t have brought with us because of more important rendezvous on their agendas. It’s therefore very much an agential minority.

PG: To put it another way, when we talk about scale, apart from the obvious correlation to one or the other giant, we are talking above all about the community that has created it. We move the giants, grouping them and creating new situations to generate stories driven by a scenario, the unfolding of which we do not yet know. Each situation creates a different narrative.

℘G: The scale is the frame, while the vantage point invites each individual to act in a particular way. This relationship to the scenario can only come about through the setting in motion of a set of actors, of people, their encounters and their ongoing writing. A vantage point expressed when these ingredients come together, as during the festive picnic in Resia on 9 March. It’s the relationship between us, the others, the visitors, with these objects that we install that produces the work, if we can call it that. Or the story.

PG: As with music – also present in the project – which acts differently depending on the place, we produce elements that act in real-life situations, as in and as extensions of the giants’ home communities.

℘ℊ: The idea of vantage point is interesting...We have reflected a lot on the concept of representation and its distance from reality. The 1:1 scale, as Stephen Wright says, is all about avoiding the stage of representation. 

Pℊ: Offering an experience, reducing the distance between those producing the artistic thing and those observing it. We position ourselves as ingesting the context.

AM: Like the earthworm, emblematic of the Denicolai & Provoost duo...

Pℊ: Yes, very much so. It’s the experience of ingestion and digestion. We invite spectators to be active players when experiencing the scenario.

AM: In the pavilion, the vantage point is doubly reversed, with visitors being invited to dance under the giants.

PG: Successfully getting the giants to dance there was the starting point of this scenography. The copyshop that we offer in the pavilion is also something of real life. The flag-tablecloth-curtain and all the objects in the scenario are scaled to the realities they have encountered, changing shape with the changes in contexts. There is no representation, no modelling, no reductions.

AM: Does your project seek to project a geopolitical dimension, in line with the Biennale’s theme Stranieri Ovunque – Foreigners Everywhere and with its numerous national representations offering more and more multiculturalism? In other words, can the hyper-local echo today’s global? Does glocal, a very fashionable contraction some 20 years ago, relate in any way to your project?

PG: Territorial borders, just like administrative boundaries, create artificial limits in the landscape. Obviously, by focusing on independent forms of governance, we question the porosity of borders, a fairly central issue in ℘ℊ. It’s not insignificant that we ended up in Resia, close to three borders, Swiss, Austrian, Italian, a place that has in the past been administratively dependent on each of these countries. We are very interested in these frictions and, if we are here, it’s to talk about them. Likewise, if we work with cartography, we do so in order to question the way of representing these spaces, which becomes a vantage point on the world that affects the way we perceive them. The fact of acting in real-life mode also rebalances these things a little. Finding oneself not in an attempt to represent the territory but in the territory itself.

℘G: More than how to make giants dance in a fixed place, this, the questioning of territory, is the starting point. How do we break down the walls of this micro-entity in the Giardini as others have done before us.

pℊ: Geology and geological relief, even more than geopolitics, impose their laws on us. It’s no coincidence that the places of passage, such as mountain passes, they require us to find are disputed places, places of friction.

Pℊ: The question of going beyond national borders guided us in the choice of giants, who also come from France and the Basque Country in Spain...We have intentionally not confined ourselves to Belgian giants, whose culture, incidentally, is also profoundly cross-border.

AM: What we have here is a veritable personification of the giants.

pℊ: Even though inanimate, they are subject to identification processes much more than simple artefacts. They are real projection-producing machines!

PG: Every week, a number of giants are born. They are fragile, collapse, marry, reproduce in different versions, last, are stillborn. They are vectors in their communities and the manner of building them varies enormously. Their life-creating dimension is, for us, the major factor. It’s this aspect that guided our choice of them.

AM: You say you act against the ‘stigma’ of individual-based artistic practice. The expression is particularly strong...

Pℊ & ℘ℊ: Wherever we are named, only the visual artist duo Denicolai & Provoost is mentioned. We have always insisted that there are seven of us and that we work together. Working collectively is a position we share politically.

℘G: We express the desire to move away from the labels people attach to our professions and to exhibit plurality in each of our practices. All of us do this already, both personally and as a collective. A fortiori, in a project of this scale, everyone is obliged to activate diverse potentials to make it come about as a joint effort. The sacred image of artist and curator still remains today but, in fact, the reality is quite different.

AM: In other words, it’s not so much the cumulation of various professional profiles – artists, curators, architects, graphic designers, typographers – as the fact that each of you wears several hats.

Sdip
⚀ SDIP

PG: What we say about the way we implement the project also applies to the way we work among ourselves. For example, when we speak of our common desire not to adopt top-down positions in our daily practice, like breaking away from the traditional relationship between a ‘senior’ position like that of an architect and a ‘lower’ one like that of an engineer. We work collectively based on the idea of permitting ourselves to teach one another. We exemplify on a small scale what we produce on a large scale.

Pℊ: To act collectively is to resist a hyper-capitalist and individualised world. Seizing the opportunity of an artistic project in Venezia to make connections. 

PG: To act collectively is also to demonstrate the level of complexity of an undertaking like this. To place the performing artist’s name at the top of a theatre bill is to commit an untruth. We have the capacity to act on the order of our public contract and in the context of the Biennale precisely because we act collectively. For this type of event, it’s normal that it’s the project that is selected. The problem lies in putting individual names to it. If we were to support the individuals-based model, if we were to resort to a committee, which is kept in the dark as to what the artist plans to put in place, we would be playing into the hands of individualism.

Pℊ: Here, the entire project was born from partnering. If the figure of the individual artist were not so central in a certain art world, the question of competition, particularly in a context like that of Venezia, would not arise so strongly.

PG: The collective allows us to de-specialise, to change our vantage points via the experiments we carry out together. When we talk of opening a space of freedom for the expression of the scenario, what we are trying to say is that the process counts more than the result.

AM: Petticoat Government of course refers to the physiognomy of the giant but has a clearly feminist connotation.

Pℊ: Yes, a ‘petticoat government’ allows us to envisage possible overthrows of the patriarchy.

℘ℊ: From a phonetic point of view, we like the fact of starting with petti in a project where we work with giants and on scales. As in the story of the Trojan Horse, we give a voice to an empty form...

℘G: Designed for the 350th anniversary of the city of Charleroi, the giant Julia compensates for the lack of female and worker representation, just as Babette in Tourcoing embodies the female textile worker. These models are transforming and integrating increasing numbers of women who are the bearers of ideas that shake up existing models. The evolution of this popular culture interests us. Giants can be linked to causes, such as the environment or feminism, or social issues, which are also those raised by contemporary art.

AM: This question of inclusiveness and feminism is clearly asserted by the typography. Where does it originate?

pℊ: The typography is by Chrystel Crickx who, in her Publi Fluor shop in Schaerbeek, produced a place of resistance to computerisation; in 2000, when the shop closed down, Spec uloos bought its stock of letters cut from adhesive vinyl between 1975 and 2000 for local signage and advertising uses, vectorised the fonts and ordered lowercase letters from it that Chrystel designed free style, in a sort of psychedelic aesthetic, which is the one selected for Petticoat Government. This archive raises eminently contemporary issues: economy of means (production and alternative means of dissemination), local practices (craftsmanship, self-teaching and vernacular amateurism-professionalism), proximity to and distance from the machine, property and authorship.

AM: Who are the contributors to the catalogue?

PG: They appeared during the numerous meetings we organised and took part in. For example, with Alexis Zimmer, who works on practices of collecting and preserving intestinal microbiota, we approach the fact of looking at something from below, of considering the digestive tract as the first brain, as something inhabited by foreign bodies and that creates our identity, both contextual and biological. It’s a kind of reversal that says that each of us is not a pure body but rather a body composed of a multitude of other bodies that tie us into a context.

Pℊ: Our selection also includes invitations to anthropologists like Silvia Mesturini Cappo, whose research focuses on the arts in combat against contemporary forms of extraction, colonisation and destruction of (bio)diversity. In this way she links to Émilie Hache’s book De la génération (2024), which focuses on practices based on generation, in opposition to production.

℘G: We also include Stephen Wright, who approaches artistic practices on a 1:1 scale. The meeting with him was triggered by the question posed by some of us as to what a work of art is – a question that, even if we didn’t really pose it collectively, necessarily underlies what we do. For us, Wright answers in a clear and pedagogical way, as well as tackling the question of the perception of art in the contemporary world and how each era reinvents its way of viewing what artwork is.

Pℊ: Then eli lebailly, an anthropologist, photographer, sound producer and walker, and Maximilien Atangana, a poet, storyteller and percussionist, whose interactive public performance, combining recitation, music and dance, is the privileged mode of expression, in the ℘ℊ scenario. Inviting authors who are not necessarily art critics has been a conscious choice, even if some have already worked in collaboration with artists.

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credits

In order of appearance in the scenario

❍ 2022

Commissioner
Fédération Wallonie-Bruxelles

Organisation
Direction des Arts plastiques contemporains

Coordination
Pascale Viscardy

Institutional partner
Wallonie Bruxelles-International

Coordination
Pascale Eben, France Dosogne

❍ Winter

Collective
Sophie Boiron, Valentin Bollaert, Simona Denicolai, Pauline Fockedey, Pierre Huyghebaert, Antoinette Jattiot, Ivo Provoost

❍ 2023

Geantology
Tristan Sadones

Dancing boy
Hugo Mertens

Typography
Groupe de Recherche Crickx, OSP, MiratMasson, Bye Bye Binary

Expertise
Atelier des Géants (Dorian Demarcq)

Catalogue publishers
MOREpublishers (Amélie Laplanche, Tim Ryckaert)

Partner institutions

◡ BPS22, Charleroi

Direction
Pierre-Olivier Rollin

◡ FRAC Dunkerque

Direction
Keren Detton

❍ Spring

Gallery
LMNO

Direction
Natacha et Olivier Legrain-Mottart

Collaboration
Julie Gaillard

Accounting
C-ZAM (Gaëlle Meeus)

❍ Summer

Communities around the giants (travellers)
Gorka Arreitunandia Arinas, Arkaitz Arrizabalaga Astigarraga, Alex Baudin, Joseph Bernard, Corine Bogemans, Valérie Boignard, Sébastien Bracq, Julien Coget, Francis De Hertog, Éléonore De Hertog, Emiel De Smet, Joaquim Decoster, Lydwine Frennet, Olivier Gilkain, Mikel Iñarrairaegi Etxano, Karl Libeert, Karin Meskens, José Nuns, Delphine Patiny, Christian Rius, Anne Schumacher, Christophe Simon, Annie Tack, Linda Traets, Corinne Van Israël, Rosine Vankwikelberge, Laetitia Vansnick, Laurence Vits, Philippe Wery

Young Curators Programme (YCP)

Coordination
Laila Melchior

Participants
Giorgia Calamia, Louis Lallier, Thibaud Leplat, Davide Musco, Hugo Roger, Paula Swinnen, Camille Van Meenen, Joséphine Wagnier

Institutional partner

◡ ArBA-EsA, Académie royale des Beaux-Arts

Direction
Daphné de Hemptinne

⌒ CARE (Master pratiques de l’exposition)

Educational manager
Aurélie Gravelat

Legal and financial management
Dana Trama

◡ KASK & Conservatorium | Hogent

⌒ Curatorial Studies postgraduate programme

Direction
Laura Herman

Coordination
Isabel Van Bos

Mediation and inclusion advisor
Marijke van Eeckhaut

YCP with the support of
⌒ Fédération Wallonie-Bruxelles, Direction des Arts plastiques contemporains
Pascale Viscardy
⌒ Vlaamse Overheid
Stan Van Pelt
⌒ BIJ
Laurence Hermand, Marie‑Sophie Wéry

Young Storytellers

Partner schools

⌒ École supérieure d’art | Dunkerque‑Tourcoing

Direction
Thierry Heynen

⌒ ENSAV La Cambre

Direction
Benoît Hennaut

Participants
Lola Demazeux, Josepha Kinsella, Zoë Lambert‑Bernal, Théotim Leclerc, Guennadi Maes, Anselme Sargeni, Mingwang Wang

Production
Giulia Blasig, Marine Urbain

Engineer
SEA + partners (François Laurent)

❍ Autumn

Interns
Eva Georgy, Jules Playa‑Arruego, Soé Ponsonnaille

Principal partners
Degroof Petercam Private Banking
The Merode
LMNO Bruxelles

Partners
Eeckman
Mobull
Sigma Coatings
The Navigator Company
Vidisquare
visit.brussels
Paolo Boselli (Q3RN_Brussels)

Friends of the Pavilion

Super friends
Frédéric de Goldschmidt
Frederick Gordts
Peter and Nathalie Hrechdakian-Oghlian
Ines en Philippe Kempeneers
Joost en Ann De Vleeschouwer-Pieters

Friends
Artcurial, ETE78, Galila’s P.O.C, KU Leuven Commission for Contemporary Art, Ntgrate, The Art Society

And all those wishing to remain anonymous

Coordination of translations
Marianne Thys

Translation
Michael Lomax, Federica Romanini, Marianne Thys, Muriel Weiss, Martine Wezembeek

Editing
Françoise Osteaux, Federica Romanini, Marianne Thys, Sheri Walter

Supplier, architectural structures
Skellet (Jimmy Maes)

Web
variable.club (Nelson Henry, Constant Mathieu)

Guardian of the Pavillion
Giulio Piovesan

Flag partners
Cas-co Leuven, 019 Gent (Mirthe Demaerel, Koi Persyn, Valentin Goethals)

Laser cutting flag-tablecloth-curtain
Atelier CNC (Kenny Vanden Berghe)

Flag-tablecloth-curtain making
Visix

Technique and production (BE)
CMVD (Christoph Van Damme)

❍ Winter

Catalogue, contributions
Maximilien Atangana + eli lebailly, Jean‑Baptiste Carobolante, Manah Depauw, Benoit Dusart, Silvia Mesturini, Young Curators Storytellers, Alexis Zimmer, l’art même (Christine Jamart)

❍ 2024

Audiovisual
Vidisquare (Pascal Willekens, Quinten Verhelst)

Light
Licht (Chris Pype, Luc Van De Walle)

Textile expertise
Flore Fockedey

Ceasefire now !

Camera
Charlotte Marchal, Vincent Pinckaers

Sound recordist
Lazslo Umbreit

Photography
Lola Pertsowsky

Photographs of the drawings
Philippe Degobert

Scale ruler
Cutch Pro (Isabelle Goëtt)

Newspaper printing
RCS (Daniele Povelato, Marco Erriquez, Augusto Musi)

Paper catalogue
The Navigator Company

Telescopic flags
◡ Academie voor Beeld, Muziek en Woord Stad Menen

◡ Projectatelier
Yvan Derwéduwé

Participants
Marina Balloy, Johan Behaegel, Sebastien Delepaut, Vesna Dodic, Katrien Jacques, Veerle Kimpe, Luc Nichelson, Heidi Nolf, Rudi Onraedt, Linda Platteau, Patrick Vandaele, Rita Vandenbroucke, Klaas Verschoore

❍ Spring

Transport and logistics of giants
Anna Kolodziejczyk + Jacques Lejuste,
Entreprise de Travail Adapté
ETA Enghien (Patrick Godart), Dick Transport (Wim Dick, Jonas Gailly)

Resia
Logistics
APUS & Les cocottes volantes (Charlotte Lambertini), Voyages Léonard (Sylvie Darcis, Pascal, Cédric, Benoît, Marc), Reschenpass (Gerald Burger), Vinterra (Peter Grassl)

Fanfare Salamba, Molenbeek

ᕃ = Ateliers Claus, Brussels (recording)
ᓇ = Resia

Composition, direction, snare
Moha Ezzatvar ᓇᕃ

Piccolo trom
Wojciech Keblowski ᕃ, Nathalie Méllinger ᓇᕃ, Coline Ozenne ᓇᕃ, Mélanie Spinnoy ᓇ

Tom drum
Ihssan Amzib ᓇᕃ, Benedikte Coussement ᓇᕃ, Simona Denicolai ᓇᕃ, Erika Faccini ᕃ, Soki Kinanga ᕃ, Jan Ockerman ᓇ, Benjamin Tollet ᓇ

Large bass drum
Mustapha Belzaham ᓇᕃ, Babak Rahimi ᓇᕃ, Sébastian Strycharsky ᓇᕃ

Ganzà
Philippe Chatelain ᕃ, Meike De Roest ᓇ, Cécile Huge ᓇ, Sophie Lambert ᓇ, Elisabeth Lebailly ᕃ, Michela Sacchetto ᓇᕃ, Evelyne Scuflaire ᓇ, Peter Veyt ᓇ

Tambourine
Stéphanie Lejeune ᓇ

Recording
Roel Snellebrands

Sound design
Senjan Jansen

Fanfare Filharmonix, Jette

Artistic direction
Peter Veyt

Clarinet
Thierry Becker, Cécile Huge, Sophie Lambert, Herman Verbeek

Transverse flute
Evelyne Scuflaire

Alto saxophone
Meike De Roest, Stéphanie Lejeune

Tenor saxophone
Pieter Vanden Heede

Baritone saxophone
Jan Ockerman

Pan del Doge
Toletta, Venezia

Beans
Cesare Tosi, Murano

Technique and production (IT)
Green Spin

Direction
MA Gaston Ramirez Feltrin, Arch. Dino Verlato, Arch. Michele Zordan

Team
Nicola Beraldo, Francesco Bernabé, Massimo Cogo, Chiara Cortivo, Fiorenzo Gomiero, Sandro Lazzari, Luana Masiero, Matteo Trentin, Tomasso Turchet

Security
Geom. Davide Cassandro

Accompaniment
Giulia Laudenzi, Ousman Seye

Tarot
Philippe Koeune

Mediation totebag
Eva Georgy

Drinks
Brasserie Silly, Enghien
Le Bertole

Festa Dedicata
Michele Perini (presidente Circolo Culturale 3 agosto, Venezia), Édouard Jattiot, Ludi Loiseau, Roberta Miss

Special thanks
Camille Abele, Bernard Baines, Sophie Baines, Agathe Baumont, Bento (Florian Mahieu, Corentin Dalon, Charles Palliez), Dominique Boiron, Martine Boiron, Céleste Bollaert, Orson Bollaert, Tocia (Marco Bravetti), Aubert Burlet, Café le Petit Lion, Mathieu Collet, Hugo Corbett, Wim De Pauw, Marie Desimpel, Justine Devergnies, Marianne Doyen, Eden Charleroi (Fabrice Laurent, Carmela Morici), André Fockedey, Cristina Galante, Quentin Gérard, Marilyne Grimmer, Julie Guiches, Bertrand Jattiot, Isabelle Jattiot, Félix Lhommel, Jeanne Lhommel, Benoit Lorent, Erwan Maheo, Iris Marano, Luce Marmier, Constant Mathieu, Vincent Mertens, MJC Tourcoing (Marjorie Arthus, Hana Hirti, Laurence Vanhecke), Andrea Montesi, Morion (Federica Bardelle), Annette Neve, Stéphane Olivier, Lorenzo Parretti, Pixie Provoost, Barnabé Provoost, R3B (Giulio Grillo), Antoine Rocca, Marius Rocca, Argentine Rocca, Louise Rocca, Edurne Rubio, Michela Sacchetto, Scalo Fluviale, Anne‑Claire Schmitz, Lepa Stanojevic, Michèle Valette, Luc Van den Eynde, Guilliana Venlet, Judith Wielander

Contacts

Press team

NL, EN, DE

Sarah-Claire Vermeulen, Serenai
+32 474 85 36 37 sarah-claire@serenai.eu
Lotte Decaesstecker, Serenai
+32 477 39 50 04 lotte@serenai.eu

FR

Laurence Morel, Nakami
+32 473 68 32 38 laurence@nakami.be
Nordine El Ghabri, Nakami
+32 472 32 07 12 nordine@nakami.be

Team Petticoat Government
contact@petticoatgovernment.party

Credits and licenses

Images noted ⚀ LP are © Lola Pertsowsky.
Images noted ⚀ JW are © Jente Waerzeggers.
Images noted ⚀ TS are © Tristan Sadones.
Signed texts are published under CC BY-SA licence.
All unsigned texts and visuals are produced by Petticoat Government, under copyleft with conditions.

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Finissage, Le Petit Lion, 30/11/2024, 20h