In passing: masterprojects

The Glass Corridor (ie Glazen Gang) at the Bijloke Campus is our master’s playground. Projects come and go. People come and go. In passing something happens.

© Vanessa Isabelle Müller

Reckless Intimacy - Vanessa Isabelle Müller
Text: Régis Dragonetti

Some threads of thought on hearing about Vanessa Isabelle Müller’s sculpture ‘Reckless Intimacy’, which consists of 12 drying racks, 1 red woman’s slip* and bacterial flora, reproducing the smell of a New Year’s Eve.

Like a red rag to a bull, I imagine, this slip.
A slip of the tongue. So to speak.
Tongue in cheek. Yours in mine. Mine in yours.

A, let’s cut the bull, I say.
To the letter. So to speak. The bloody letter.
That is, her c’s, her u’s, and her t’s.
Cut the bull and bleed bright red our drunken alphabet.
Where the sun don’t ever shine.
A skindeep Z on New Year’s Eve.

Now. Midnight is upon us. Twelve moons gone by.
Once again. Outnumbered by the clock.
Five to twelve. Count us down. Twelve to one.
Jesus etcetera. Sharing the red, red wine.
Which is the blood.
Which is poured out for you.

Santa Maria, carry us off. High and dry.
And higher still. And dryer still. So to speak.
A new narrative for all.
But I’ve forgotten my line. Yours in mine. Terribly interwoven.
Wrecked. So to speak.
A rack by all means.
A head-on collision (since we’ve got our heads up your asses). 
Reckless, yet intimate.

* Red underwear is for most Italians a talisman on New Year’s Eve.

© Jens Van Der Voorden

Artificial Crowds - Alberto Cattani
Text: Alberto Cattani, edited by Alexandra Banhazl

The increasing act of football supporters collectively turns the language into a tool of fear, playing in a turbulent boundary between war and sound. The project aims to explore the sound and the language in the social context as a manifestation of power and identity.

All the fears are vanished inside the crowd. The affect of a growing stress in a social sphere increasingly shapes an environment that leads to the formation of the crowd. The aim of the research is to understand what happens when we try to rebuild the awareness of this violent dialogue between different factions, using the semantic generation capacity of a neural network. The obtained results are new lyrics, new chants, new semiotic elements composed by a machine that conserves a certain human presence. The self generated elements appear abstract in their structure, however, the violent range of terminology is still present. The stadium warfare has been mathematically translated by the algorithms in a new artificial form to stand on its own, structured by infinite rules of self-trainings and self-generations.

© Leon de Bruijne

Remora - Leon de Bruijne
Text: Leon de Bruijne

'Remora' is a work that temporarily sucks itself onto KASK's exterior. The work is named after a fish called the 'shark sucker'. This animal attaches itself to its host with a suction cup, while traveling along and enjoying protection at the same time. This interaction is a symbiotic relationship. To be more precise, it is what is called commensalism, a relationship between two organisms in which one benefits from the other, whereas the other does not suffer from it. We speak of mutualism when both parties benefit from the symbiotic relationship. Consider for instance the bluestreak cleaner wrasse. This fish feeds on parasites and dead body tissue of larger fish, who obviously benefit from this. During my master project 'Remora' will suck itself onto the windows of the Glass Corridor, engaging in a selfless symbiotic relationship with the building of KASK and its residents. 'Remora' is a mechanical device that does us a favour, during fog or rain it wipes the window and creates a circular peephole.