André van Bergen's work shows the unexpected. Through his eyes the perception of the world is turned upside down, making room for unconventional interpretations of the ordinary object. He showers outside on the street by putting the tank of the water heater on his back as a rucksack. He hangs a curtain on the outside of the house in front of the window, complete with curtain rod. He installs his front door upside down. In "Space Trap" at Ellen de Bruijne Projects in 2000, he relocated the central heating radiators of the gallery and converted them into bunk-beds. In BeganeGrond he mounted a small potted plant onto a movable ceiling construction which slowly and jerkily bumped into the top of every freestanding wall dropping small portions of earth by every hit.
In the gallery he will show his latest work.
Susan Philipsz (Glasgow, 1965) has been based in Belfast for the past seven years where she founded a mobile arts organisation, and co-runs an artist residence programme. She was at PS 1 international program in New York in 2000, and is currently doing an artist residency at Kunst-Werke Berlin. She was shortlisted for the Glen Dimplex Artist Award Exhibition at The Irish Museum of Modern Art, Dublin 2001. She participated in Manifesta 3, Ljubljana, and has shown in the Melbourne Biennial 1999, and the Tirana Biennial 2001. Coming up in September a project at BeganeGrond Utrecht
Susan Philipsz's work deals with a particular set of relationships between sound, space and subjectivity. She expresses a keen interest in what she terms "the emotive and psychological properties of sound', more specifically in popular music's function as a trigger for personal memory. For the power of popular song, especially its staying power, depends equally on its communal appeal and its ability to evoke quite idiosyncratic associations. The principal tools Philipsz employs in her delicate negotiations between shared experience and private introspection are fine but endearingly fallible singing voice and a keen attentiveness to performative context, architectural setting and social space. Much of her work has consisted in smuggling her disembodied and unaccompanied singing voice into various public and municipal locations where its restrained melancholia might insinuate itself most effectively into the consciousness of an unexpected public, to an unpredictable variety of effects.
A case in point is the recording of her singing The Internationale, or As Tears Go By (Rolling Stones), Airbag (Radiohead) o/a
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