CCNOA, Brussels, Belgium
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Left: Simon Ungers. Spatial composition I, (detail) (2001). Right: Ralf Brög. Save yourself, (2001). Installed at CCNOA, Brussels.
“Spatial Intersections” brought together five artists who explore spatial intricacies and divisions through sculpture, painting, constructions, and photography. Artist/architect Simon Ungers contributed Spatial Composition I (2001), a “spatial construction” highlighting elements in the existing interior with color to raise awareness of the space and structure. Ralf Brög exhibited two implied cubes forming a “sculpture-painting”, designed in relation to the proportions and dimensions of the center’s interior.
CCNOA recently launched its new architecture initiative with “Topos— Atopos— Anatopos”, curated by Belgian architect Christian Kieckens. The exhibition introduced an outdoor public art/design/architecture project by six artists and architects. Situated alongside a lock in nearby Ghent, the project is slated for completion in 2006.
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Peter Downborough. Evergem Locks, (detail) (2002). Tape, vinyl letters, metal pipe, and maquette. Installation view, at CCNOA, Brussels.
“Topos” included architectural models and maquettes, photographs, videos, and a site-specific light installation. Peter Downbrough exhibited a maquette illustrating his sculptural object installation for the Ghent site, which also, in the CCNOA exhibition context, became part of a site-specific interior installation.
Why the new plus-architecture remit? According to Petra Bungert, “We began this program because of the artists that we’ve been working with. Most are involved in this sort of investigation, and some are directly involved with art in public buildings and architecture commissions.” In the future, CCNOA is planning an annual exhibition centering on architecture.
What’s it like to work with CCNOA? Artist Joan Waltemath, based in New York, has only kind words: “The unique thing about working there is that when you do an exhibition with Bungert, you have a true collaborator. She never pressures you to conform to the limits of any exhibition or gallery conventions, instead she supports the efforts of artists who desire to break through those boundaries.” Waltemath exhibited a site-specific drawing installation (1999-2000) playing off of CCNOA’s interior.
When asked about the center’s challenges, Petra Bungert expresses concern about the art system in Brussels: “The Flemish and French-speaking Walloon communities are divided, and this affects the cultural communities—and funding… There’s also no structural encouragement for tax-deductible donations. And there is little understanding of how other systems work—in North America and other countries in Europe—and little curiosity about international positions outside the border.” Despite these difficulties, Bungert does work locally, but as she says, “in a much more selective way than in the past.”
In the future, CCNOA plans “to expand existing programming, including sound art, initate exchanges, start up an on-line journal with thematic issues—the first one on ‘chance’—and hopefully open an annex in Marseilles.” Marseilles? “Because we all should retire there,” jokes Petra Bungert. “Here, it’s gray, damp, and cold.”
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