{"id":16556,"title":"Dennis Tyfus - 2009 - Colourful and Buzzing Castoffs [EN, essay]","dimensions":"4 p.","date_begin":null,"material":"","art_status_id":13,"legal_status_id":47,"category_id":25,"platform_id":1,"deleted":false,"asset_count":1,"stream_count":0,"collection":"Hans Theys Archive / Archief Hans Theys","cached_tag_list":"","publishing_process_id":1,"annotation":"","date_end":null,"reference":"","stream_count_app":21,"permalink":"dennis-tyfus-colourful-and-buzzing-castoffs","description_ca":"","short_description_ca":"","description_it":"","short_description_it":"","cached_primary_asset_url":null,"cached_actor_names":"Hans Theys","hide_from_json":true,"prev_platform_id":null,"description_uk":null,"short_description_uk":null,"description_tr":null,"short_description_tr":null,"mhka_works":false,"category":{"en":"Text","nl":"Tekst","fr":"Texte"},"poster_image":null,"poster_credits":null,"translations":[{"locale":"en","short_description":"","description":"\u003cp style=\"text-align: justify;\"\u003e\u003cbr /\u003e\r\n\u003cbr /\u003e\r\n\u003cbr /\u003e\r\n__________\u003cbr /\u003e\r\n\u003cbr /\u003e\r\nHans Theys\u003cbr /\u003e\r\n\u003cbr /\u003e\r\n\u003cbr /\u003e\r\n\u003cstrong\u003eColourful and Buzzing Castoffs\u003cbr /\u003e\r\nThe Work of Vaast Colson and Dennis Tyfus\u003c/strong\u003e\u003cbr /\u003e\r\n\u003cbr /\u003e\r\n\u003cbr /\u003e\r\nVaast Colson\u003c/p\u003e\r\n\r\n\u003cp style=\"text-align: justify;\"\u003eVaast Colson (b. 1977) studied painting at the Royal Academy of Fine Arts in Antwerp and went on to Post St. Joost in Breda, finishing there in 2001 with a performance at Artis Den Bosch. Colson\u0026rsquo;s first taste of wider public interest was for a performance that lasted six days, at the 2003 Brussels Art Fair. His gallery, Maes \u0026amp; Matthys, presented only one object, \u003cem\u003eThe Pink Sting\u003c/em\u003e. The object was a backpack that appeared to hang on the wall, but was in fact being worn by Vaast Colson, who for three days stood against the other side of that same wall. This performance is still characteristic of Colson\u0026#39;s work, which could be described as a reflection about the position of the artist, a continuous search for resistance, an exercise in perseverance and an attempt to summarize a situation in a visual image.\u003cbr /\u003e\r\n\u0026nbsp;\u0026nbsp;\u0026nbsp; Another example is an action he undertook last year as part of a television programme that, for several weeks, recorded the adventures of artists and amateurs participating in an art competition. Initially, I was surprised that Colson would take part in this shallow, doomed-to-fail spectacle, but he felt that he could not refuse something of the sort, because it is part of his duty to determine a position in regards to every proposal generated by the community. Ultimately, he squeezed out a tube of oil paint, emptying it onto a table, then sat down at the table and told the camera crew that he would remain seated until the paint had dried. After a few hours, the producer of the show presented him with a polite note, asking how long this action would go on. Colson submitted this note as his contribution to the competition.\u003cbr /\u003e\r\n\u0026nbsp;\u0026nbsp;\u0026nbsp; In general, Vaast Colson\u0026rsquo;s work is exceptionally precise and economic. After a long period of deliberating, planning, drawing and writing, he quickly and decisively shapes a sculpture, installation or action, often with the support of other artists, such as Lieven Segers, Pol Matth\u0026eacute;, Ben Meewis, Geert Saman, Dennis Tyfus or Stijn Colson, who is also his musical partner in the kraut-rock band, The Heavy Indians.\u003cbr /\u003e\r\n\u0026nbsp;\u0026nbsp;\u0026nbsp; Recently, another beautiful work by Colson was presented at Wiels in Brussels. It was a small head of a dollhouse figurine, which resembled the artist (wearing a woolen bonnet). The head perched on top of a stack of rolls of tape and overlooked the exhibition. The work was titled \u003cem\u003eOp Post \u003c/em\u003e(On Guard). I asked Colson how this work had come about. \u0026lsquo;Actually, that figure is left over from an edition that I am in the process of making, which I started last year for Art Brussels. As a kind of sequel to children organizing bartering markets with apples or eggs, I wanted to exchange a work of my own for another work, and that work for a following work, and so on. The idea behind this limited edition was to support the gallery in renting their stand, as they were not offering any of my work for sale.\u003cbr /\u003e\r\n\u0026nbsp;\u0026nbsp;\u0026nbsp; The work that I made for Wiels is a wooden box. When you push a button, a \u0026ldquo;mini-Vaast\u0026rdquo; with an apple pops up. The sides of the box are connected with hooks and eyes, and if you undo them, the box opens out like a tulip\u0026hellip; It actually came very close to my not showing anything at all at Wiels. Everything was pretty hectic, and all the space had already been allocated. So I found a place to sit down to draw, with that little doll at my feet. After a while, I put it back into my backpack, because nobody reacted to it. But that evening, Ivo Provoost and Simona Denicolai came up to me and proposed a place for that funny little doll that they had seen earlier in the day.\u0026rsquo;\u003cbr /\u003e\r\n\u0026nbsp;\u0026nbsp;\u0026nbsp; Since 2000, Colson has been working without interruption, often at the invitation of cultural institutions that expect him to respond to a specific situation with an exceptional action or reaction. One of these invitations is for the \u003cem\u003eZXZW\u003c/em\u003e festival, which will be bringing music, film, contemporary dance and visual art to Tilburg and, together with Whatspace, has invited Vaast Colson to create an opening act. The \u003cem\u003eZXZW\u003c/em\u003e website states that the organizers hope that Vaast Colson will in turn invite Dennis Tyfus. So, who is Dennis Tyfus?\u003cbr /\u003e\r\n\u003cbr /\u003e\r\n\u003cbr /\u003e\r\nDennis Tyfus\u003c/p\u003e\r\n\r\n\u003cp style=\"text-align: justify;\"\u003eIn Antwerp, Tyfus is famous. Once every three or four days, you come across a poster, flyer or sticker announcing that Tyfus\u0026rsquo;s publishing firm and record label, Ultra Eczema, is organizing a concert at Scheld\u0026rsquo;apen or Bar Mondial. Dutch audiences will become acquainted with his work next September in De Brakke Grond in Amsterdam and later this year at Artis Den Bosch, where Tyfus will be programming four days of music as a response to \u003cem\u003eNovember Music\u003c/em\u003e, and probably will set up a market with editions by like-minded souls (vinyl records, booklets, posters flyers, buttons). He also exhibits large-format drawings at the Stella Lohaus Gallery in Antwerp, is a musician himself, designs record covers and T-shirts, and every Saturday afternoon, presents a fantastic radio programme on the Antwerp station, Radio Centraal.\u003cbr /\u003e\r\n\u0026nbsp;\u0026nbsp;\u0026nbsp; Dennis Tyfus (b. 1979) is fascinated by the visual poetry and noise of Paul De Vree, the Tafelronde and their international contacts, including Fran\u0026ccedil;ois Dufr\u0026ecirc;ne and Henri Chopin (who was a guest on Tyfus\u0026rsquo; radio programme two weeks before he died) from France, and Sarenco, from Italy. Tyfus produces records with Ludo Mich and Wout Vercammen, happening artists from the 1960s. He likes the Situationists and their radicalism, as well as the punk scene from the 1970s and 80s, including Zyklome A, The Dirty Scums, the international network of Club Moral, the metal clatter of Lakoste and the noise of Ob Minimax and Vortex Campaign. He is also enthusiastic about 1990s hardcore, grind core and the noise scene of Agathocles, Rubbish Heap, Mangenerated, Intestinal Disease and more. The backbone of this sound world is Radio Centraal, where all of the above have had air time in recent decades. In the past several months Tyfus\u0026rsquo;s label brought out LPs with work by Orphan Fairytale (lugubrious in the way that a doll or a clown can look lugubrious, interwoven with Eastern influences, found sound material and lots of echo and delay), Idea Fire Company (\u003cem\u003eKraut ambient\u003c/em\u003e, with pianos and analog synthesizers, very repetitive and monotonous) and Menstruation Sisters (Australian Orthodox Jews whom they had released from a mental hospital in order to make an LP that can be compared to nothing or no one).\u003cbr /\u003e\r\n\u0026nbsp;\u0026nbsp;\u0026nbsp; Tyfus began drawing when he was five, an activity his parents encouraged. As a teenager, he produced a punk magazine. He later began drawing record covers for various bands.\u003csup\u003e1\u003c/sup\u003e In 2003, he drew 300 unique record covers for a single by Trumans Water, from Portland, Oregon. The covers were exhibited at Lokaal01 in Antwerp. A year earlier, in a space outside the Antwerp art circuit, he had exhibited a series of drawings that caught the attention of Stella Lohaus, who currently runs one of Antwerp\u0026#39;s top galleries. Since then, Tyfus has also been a gallery artist, without it having interfered in the least with his other activities. Tyfus is not at all preoccupied with art and even less with the art world. He is simply unceasingly active in hundreds of appealing and well-executed activities that he considers of vital importance: music, drawing, magazines, posters, vinyl records, radio programmes, concerts and performances.\u003cbr /\u003e\r\n\u0026nbsp;\u0026nbsp;\u0026nbsp; Dennis Tyfus, like Panamarenko, for example, has no \u0026lsquo;artistic aims\u0026rsquo;, in the sense that he is not forever asking himself how he can make something that resembles art or that would be considered art by some imaginary viewer, gallery owner or, God have mercy, a theorist. The result of his impressive, indefatigable force is a stream of beautifully made images\u0026nbsp; spreading out like a trail of residu. Part of this trail includes the large drawings that he makes for the gallery. He creates these drawings with black Posca paint markers on coloured backgrounds. In earlier works, the backgrounds were made up of sprayed patches in different colours. Now they consist of fluorescent monochromes. In the drawings, pores, tears, beads of sweat, acne, beard stubbles, spots, beauty marks, veins and hairs feature as pixels of a vibrating pattern. Recent drawings have shown a shift in form. The works are now primarily built up from thin stripes, each in different shapes. The drawings are consistently flat, without shadows, although in one recent drawing, a realistic head of a bear appears, with graduated shading around the eyes and under the mouth, looking as though a terrible nightmare had just broken through the thin wall of a cartoonlike world.\u003cbr /\u003e\r\n\u003cbr /\u003e\r\n\u003cbr /\u003e\r\nAntwerp\u003c/p\u003e\r\n\r\n\u003cp style=\"text-align: justify;\"\u003eBoth Vaast Colson and Dennis Tyfus live in Antwerp. It is always difficult to describe the art world in your own country, because you are inundated by all the details, but comparatively speaking, there is a remarkable amount of very strong art being produced in Antwerp. Historically, this can be explained by the presence of the harbour and the proximity of the Netherlands (Cobra in the 1950s and Amsterdam in the 1960s), the revolutionary and visionary exhibitions of the exceptional Wide White Space gallery in the 1960s and \u0026lsquo;70s and, more recently, the presence of the world-famous fashion academy, which has brought a continual influx of bright young artists from all over the world. The numbers of young artists, all producing diverse and often stunning work, can no longer be counted in single digits: Kati Heck, Tamara Van San, Nadia Naveau, Andy Wauman, Lara Dhondt, Lieven Segers, Pol Matth\u0026eacute;, Philip Janssens, Leon Vranken, Tim Segers, Lode Geens, Hans Wuyts, Anton Cotteleer, Kris Vleeschouwer, Benjamin Verdonck, Ilke and Erki De Vries, Nick Andrews, Tom Liekens, Rinus Van De Velde, Ulysse Ost and many, many more.\u003cbr /\u003e\r\n\u0026nbsp;\u0026nbsp;\u0026nbsp; Colson and Tyfus both make beautiful, three-dimensional works and both are involved with music. Colson comes from an environment of university-trained people (he is named after an economist), while Tyfus is from a working-class family (he was named after a cartoon character). Colson studied at two art academies, while we suspect Tyfus may never have finished primary school, might have spent a day and a half apprenticed to a leather worker and had a single summer job in a dog food factory in \u0026rsquo;s-Hertogenbosch. Colson\u0026rsquo;s work gives new forms to a continuous reflection on the meaning, potential and limitations of contemporary art. It is work in which considerable thought is given to the necessity and the hopelessness of the visual image. It is almost exclusively created in art environments (galleries, cultural centres, theatres, art fairs or museums). In contrast, I would refer to Tyfus\u0026rsquo; work not as work, but as a way of being: an uninterrupted stream of images, things, objects, deeds and other involvements that have nothing whatsoever to do with the art world, but that at the same time can be nothing other than works of art.\u003cbr /\u003e\r\n\u003cbr /\u003e\r\n\u003cbr /\u003e\r\nCollaboration\u003c/p\u003e\r\n\r\n\u003cp style=\"text-align: justify;\"\u003eIn September, 2006, Dennis Tyfus and Vaast Colson exhibited together in their own galleries, Stella Lohaus and Maes \u0026amp; Matthys. The two galleries are situated in different streets, but Colson discovered that they adjoined one another. A large opening was made in the wall that separated the two galleries, so that visitors could walk from one exhibition space into the other. Colson built a wooden kiosk in Tyfus\u0026#39; gallery and Tyfus showed large drawings and an animation film in Colson\u0026rsquo;s. Tyfus organized performances in Colson\u0026rsquo;s kiosk, which could be seen from a small mezzanine built by Colson. Working this way is typical of both artists. Tyfus takes advantage of a situation in order to programme things he wants to see himself, while Colson attempts to push the parameters of an exhibition location, as well as redefining his own relationship with the gallery owners. Tyfus is concerned with the things themselves, while Colson\u0026rsquo;s concern is the image. Both produce beautiful works that come tumbling out of their respective activities like colourful and buzzing castoffs.\u003cbr /\u003e\r\n\u003cbr /\u003e\r\n\u003cbr /\u003e\r\nMontagne de Miel, May 24\u003csup\u003eth\u003c/sup\u003e 2009\u003c/p\u003e\r\n"},{"locale":"nl","short_description":"","description":"\u003cp style=\"text-align: justify;\"\u003e\u003cbr /\u003e\r\n\u003cbr /\u003e\r\n\u003cbr /\u003e\r\n__________\u003cbr /\u003e\r\n\u003cbr /\u003e\r\nHans Theys\u003c/p\u003e\r\n\r\n\u003cp style=\"text-align: justify;\"\u003e\u003cbr /\u003e\r\n\u003cstrong\u003eAls kleurrijk en gonzend afval\u003cbr /\u003e\r\nOver Vaast Colson en Dennis Tyfus\u003c/strong\u003e\u003cbr /\u003e\r\n\u003cbr /\u003e\r\n\u003cbr /\u003e\r\nInleiding\u003c/p\u003e\r\n\r\n\u003cp style=\"text-align: justify;\"\u003eOnlangs werd ik door Metropolis M uitgenodigd een stuk te schrijven over twee Belgische kunstenaars: Vaast Colson en Dennis Tyfus. Een stuk over twee kunstenaars! Ik vraag mij af of ik zoiets wel kan schrijven, vooral omdat het hier gaat over twee mannen met heel verschillend werk. Ik weet waarover ik spreek. Al vijf jaar lang film ik hun bezigheden, nodig ik hen uit voor tentoonstellingen en schrijf ik teksten over hun werk. Toch deins ik terug voor de opdracht. Vooral het werk van Tyfus boezemt mij schroom in. Ik ben bang het te ontmannen, te versmachten in een steriele kartontaal of te herleiden tot dingen die al bestaan.\u003cbr /\u003e\r\n\u003cbr /\u003e\r\n\u003cbr /\u003e\r\nKorte voorstelling van de kunstenaars\u003cbr /\u003e\r\n\u003cbr /\u003e\r\nWie is Dennis Tyfus? In Antwerpen stuit je om de drie \u0026agrave; vier dagen op een poster, flyer of sticker waarin een optreden wordt aangekondigd dat in de Scheld\u0026rsquo;apen of de Bar Mondial wordt georganiseerd door Tyfus\u0026rsquo; uitgeverij en platenlabel Ultra Eczema. Verder toont de man schilderij-grote tekeningen in de galerie van Stella Lohaus (Antwerpen), maakt hij zelf muziek, ontwerpt hij platenhoezen en T-shirts en verzorgt hij elke zaterdagmiddag een fantastisch radioprogramma voor de Antwerpse lokale zender Radio Centraal.\u003cbr /\u003e\r\n\u003cbr /\u003e\r\nEn wie is Vaast Colson? Langzamerhand raakt hij bekend in heel Belgi\u0026euml;. Een slecht ingelicht journaliste noemde hem onlangs nog \u0026lsquo;de chouchou van de Belgische kunst\u0026rsquo;. Ze bedoelde daarmee vermoedelijk dat ze zich zijn naam herinnerde. Het kan ook moeilijk anders. Sinds ik hem in 2004 ontmoette, is hij onafgebroken aan het werk geweest. Meestal werkt hij ter plekke en bedenkt hij nieuwe acties die samenhangen met een ruimtelijke ingreep. Vaak werkt hij daarbij samen met andere kunstenaars als Lieven Segers, Pol Matth\u0026eacute;, Ben Meewis, Geert Saman of Dennis Tyfus. Hij maakt ook muziek, vooral met zijn broer Stijn. Samen heten ze The Heavy Indians.\u003c/p\u003e\r\n\r\n\u003cp style=\"text-align: justify;\"\u003eBeide kunstenaars wonen in Antwerpen. Ze maken allebei prachtig plastisch werk en ze zijn allebei onafgebroken bezig met muziek. Colson is afkomstig uit een milieu van universitair geschoolde kaderleden (hij werd genoemd naar een econoom), de ouders van Tyfus zijn arbeiders (hij werd genoemd naar een stripfiguur).\u003c/p\u003e\r\n\r\n\u003cp style=\"text-align: justify;\"\u003eHet werk van Colson bestaat in een vorm geworden, beheerste reflectie over de betekenis, de mogelijkheden en de grenzen van de hedendaagse kunst. Het is een werk waarin wordt nagedacht over de noodzaak en de hopeloosheid van het beeld. Het wordt bijna uitsluitend gemaakt op kunstplekken (galerie\u0026euml;n, culturele centra, theaters, kunstbeurzen en musea). Het werk van Tyfus, daarentegen, zou ik geen werk noemen, maar een manier van zijn. Niks geen zichtbare reflectie, god zij geloofd, wel een onophoudelijke stroom beelden, spullen, dingen, handelingen en andere zaken die weinig met de offici\u0026euml;le kunstwereld te maken hebben, maar wel niks anders kunnen zijn dan kunstwerken.\u003c/p\u003e\r\n\r\n\u003cp style=\"text-align: justify;\"\u003eEen tekst van mij over Dennis Tyfus en Vaast Colson moet concreet zijn, niet kunsthistorisch of kunsttheoretisch. De taal moet klinken en struikelen. Er moet vlees aan zitten.\u003cbr /\u003e\r\n\u003cbr /\u003e\r\n\u003cbr /\u003e\r\nDennis Tyfus\u003c/p\u003e\r\n\r\n\u003cp style=\"text-align: justify;\"\u003eTerwijl ik dit schrijf, luister ik naar het radioprogramma van Dennis Tyfus op Radio Centraal. Op verzoek van de kunstenaar Benjamin Verdonck, die de voorbije week een voetbalmatch, concerten en gratis voedselbedeling heeft georganiseerd in een papieren huis dat hij op een plein voor een Antwerps theater heeft opgetrokken voor mensen zonder papieren, wijdt Tyfus een uitzending aan dit initiatief. Zich voordoend als een onvoorstelbaar onbehouwen racist, telefoneert hij naar een vijftal stadsdiensten om een eind te maken aan het artistieke zootje voor de Bourlaschouwburg. Bij \u0026lsquo;Monumentenzorg\u0026rsquo; dringt hij erop aan dat ze voor hun monumenten zouden zorgen, bij de \u0026lsquo;Stadsreiniging\u0026rsquo; eist hij een grondige schoonmaakoperatie en bij \u0026lsquo;Beeld in de stad\u0026rsquo; beklemtoont hij dat het echt geen gezicht is, \u0026lsquo;al dat vreemd, in alle kleuren van de regenboog: zandnegers, pindanoten en wat weet ik nog. En hoe is dat crapuul hier geraakt? Dat zou ik wel eens willen weten! Niet per auto, want ze hebben geen rijbewijs. Ook niet per vliegtuig, want ze hebben geen paspoort. Wel, hoe zijn ze dan hier geraakt? Dat zou ik willen weten, hoe ze hier geraakt zijn. In een boot vol bananen, hoe anders? U zoudt eens moeten komen luisteren, hier, naar hun lawaai. Zelfs hun lawaai is niet van hier!\u0026rsquo;\u003c/p\u003e\r\n\r\n\u003cp style=\"text-align: justify;\"\u003eVorige week was Dennis Tyfus met zijn radioprogramma te gast bij de happening-kunstenaar en cineast Ludo Mich, op andere dagen laat hij bekende en minder bekende muzikanten per telefoon muziek maken in zijn programma. Zogenaamde stijlen doen niet terzake. Ofwel gaat het om goed spul, ofwel niet. \u0026lsquo;Er zijn veel stijlen, maar er is maar \u0026eacute;\u0026eacute;n schoonheid,\u0026rsquo; schreef Flaubert in een van zijn brieven. Ter illustratie van zijn eclectische houding heb ik Tyfus gevraagd een idee te geven van de laatste vinylplaten die hij heeft laten persen \u0026eacute;n van de soorten muziek die gemaakt wordt door de deelnemers van een beruchte Bamba-avond, die hij op 28 februari 2009 organiseerde in de Scheld\u0026rsquo;apen. Het bijzondere aan die avonden is dat je kennis maakt met zowel piepjonge muzikanten als mensen die al muziek maakten in de jaren vijftig, zestig, zeventig, tachtig en negentig. Ik heb zo\u0026rsquo;n optredens bijgewoond en gefilmd, maar ik weet niet welke woorden gebruikt worden om de muziek die er gemaakt wordt te beschrijven. U vindt de beschrijving van Tyfus onderaan.)\u003cbr /\u003e\r\n\u003cbr /\u003e\r\n\u003cbr /\u003e\r\nVaast Colson\u003cbr /\u003e\r\n\u003cbr /\u003e\r\nVaast Colson ziet zich als geworpen in de kunstwereld en probeert binnen die wereld op een oprechte manier stelling te nemen. In zijn eigen woorden heet dit dat hij \u0026lsquo;weerstand zoekt\u0026rsquo;. Of je nu tentoonstelt, lesgeeft, deelneemt aan een televisieprogramma of een openingsact voor zxzw samenstelt, altijd zijn er verwachtingen, die je moet trachten te overstijgen door het cre\u0026euml;ren van een beeld dat ge\u0026euml;nt wordt op de specifieke situatie en dat een prangende ontmoeting met de toeschouwers mogelijk maakt. Vaak gaan zijn acties gepaard met een vorm van uithouding, met een volgehouden attitude. Hoe moet u zich dat voorstellen? Ik vroeg hem of hij al wist wat hij zou doen voor het Tilburgse zxzw, dat hem uitnodigde een happening te cre\u0026euml;ren voor de opening van een muziekfestival.\u003c/p\u003e\r\n\r\n\u003cp style=\"text-align: justify;\"\u003eVaast Colson: \u0026lsquo;Eigenlijk gaat het om een samenwerking tussen zxzw en Whatspace. Zxzw organiseert een festival dat gebaseerd is op een festival in Texas, waar de White Circle Crime Club heeft gespeeld. De kwaliteit van de groepen is constant. Je ziet er zowel black metal groepen uit Noorwegen als lichte, elektronische muziek uit Duitsland. Het festival is bijna een viering van de muziek. Nu willen ze ook beeldende kunst brengen, maar omdat ze daar minder van weten, hebben ze er Whatspace bijgehaald. Samen hebben ze mij uitgenodigd om een openingsmoment te maken. Als centrale figuur voor de beeldende kunst hebben ze Herman Nitsch uitgenodigd. Ik zou hen willen vragen niet meteen werk van hem tentoon te stellen dat iedereen al kent, maar de man uit te dagen. Ik vind niet dat je zo\u0026rsquo;n man al mag uitschrijven. Zo heb ik in een DVD over Dieter Roth gezien dat Nitsch muziek maakt en dirigeert. Hij ging ergens in IJsland lesgeven en begon die studenten tekens te geven en allerlei geluiden te laten produceren. Ze zouden hem kunnen vragen zoiets te doen.\u0026rsquo;\u003c/p\u003e\r\n\r\n\u003cp style=\"text-align: justify;\"\u003eDe voornaamste performances en ruimtelijke ingrepen van Vaast Colson heb ik beschreven in verschillende teksten, die u kan vinden op mijn website of in mijn boeken. Onlangs deed hij met Ben Meewis echter een actie in Stuttgart, die ik nog niet heb beschreven: \u003cem\u003eDuring Nightly Excursions and Other Sitdowns \u0026ndash; A Rambling Pitch by Vaast Colson and Ben Meewis\u003c/em\u003e. Het was de bedoeling een gietvorm te maken van een lichtkoepel door een 7 cm kleinere houten vorm te maken, die met spie\u0026euml;n in de koepel te klemmen en de tussenruimte te vullen met polyurethaanschuim. Ten eerste hadden ze echter niet genoeg schuim en ten tweede wilde het schuim niet drogen, omdat ze geen ventilatie hadden voorzien. Ten slotte werd de houten vorm gewoon onder de lichtkoepel op de vloer van de tentoonstellingsruimte geplaatst. Ze verstopten zich in de sculptuur en tijdens de opening maakten ze van binnenuit (door met schuurpapier, manueel, een cirkel uit te schuren) een mangat waardoor ze naar buiten konden kruipen.\u003c/p\u003e\r\n\r\n\u003cp style=\"text-align: justify;\"\u003eOnlangs was er in het Brusselse Wiels een prachtig werk te zien van Colson: het hoofdje van een poppenkastfiguurtje dat leek op de kunstenaar (met wollen muts). Het hoofdje rustte bovenop een stapel rollen tape en keek zo naar de tentoonstelling. Het werkje heette \u003cem\u003eOp Post\u003c/em\u003e. Ik vroeg Colson hoe dit werk tot stand is gekomen:\u003c/p\u003e\r\n\r\n\u003cp style=\"text-align: justify;\"\u003eVaast Colson: \u0026lsquo;Eigenlijk is dat popje een afvalproduct van een editie die ik aan het maken ben ter financiering van het barter-moment dat ik vorig jaar op de kunstbeurs heb georganiseerd\u0026hellip; Dit jaar heb ik voor de kunstbeurs een editie gemaakt op basis van de tentoonstelling \u003cem\u003e100 Cork Pops to Celebrate the Crisis\u003c/em\u003e, waarvoor ik 100 in oranje verf gedoopte champagnekurken heb afgevuurd op de muren van de galerie. Voor de editie schiet ik de champagnekurken af op Steinbach-vellen en verkoop ik certificaten waarvan de prijs varieert naargelang van het aantal vellen dat de koper wil verwerven. Juist omdat ik vaak werk weggeef of voor heel weinig geld verkoop, doe ik nu aan product design. Ik maak heel commerci\u0026euml;le dingen die mijn andere bezigheden of mijn galerie moeten financieren.\u0026rsquo;\u003cbr /\u003e\r\n\u003cbr /\u003e\r\n\u003cbr /\u003e\r\nDennis Tyfus en Vaast Colson\u003c/p\u003e\r\n\r\n\u003cp style=\"text-align: justify;\"\u003eIn september 2006 stelden Dennis Tyfus en Vaast Colson samen tentoon in hun galerie\u0026euml;n (Stella Lohaus en Maes \u0026amp; Matthys). Die galerie\u0026euml;n bevinden zich in verschillende straten, maar Colson had ontdekt dat ze aan elkaar grensden. In de gemeenschappelijke muur werd een grote opening gemaakt, zodat de bezoekers van de ene galerie naar de andere konden wandelen. Colson bouwde een houten kiosk in Tyfus\u0026rsquo; galerie en Tyfus toonde een animatiefilm in Colsons galerie. In Colsons kiosk werden door Dennis Tyfus performances en optredens georganiseerd, die zichtbaar waren vanop een door Colson gebouwde mezzanino. Deze werkwijze typeert beide kunstenaars. Tyfus maakte van de gelegenheid gebruik dingen te programmeren die hij zelf wil zien en Colson probeerde de grenzen van een tentoonstellingsplek te verleggen en zijn relatie met de galeriehouders opnieuw te defini\u0026euml;ren. Tyfus is bezig met de dingen, Colson is bezig met het beeld. Allebei maken ze prachtige werken, die als kleurrijk en gonzend afval uit hun bezigheden tuimelen.\u003cbr /\u003e\r\n\u003cbr /\u003e\r\n\u003cbr /\u003e\r\nMontagne de Miel, 24 mei 2009\u003c/p\u003e\r\n\r\n\u003cp style=\"text-align: justify;\"\u003e\u003cbr /\u003e\r\n\u003cbr /\u003e\r\n__________\u003cbr /\u003e\r\n\u003cbr /\u003e\r\n\u003cstrong\u003eDennis Tyfus over zijn uitgaven en concerten\u003c/strong\u003e\u003cbr /\u003e\r\n\u003cbr /\u003e\r\n\u003cbr /\u003e\r\nHans,\u003c/p\u003e\r\n\r\n\u003cp style=\"text-align: justify;\"\u003eKwa oudheid ben ik niet enkel ge\u0026iuml;nteresseerd in de jaren 60 met bv ludo mich en wout vercammen, ook in eind jaren 50 met de visuele po\u0026euml;zie en de klankpo\u0026euml;zie van paul de vree, de tafelronde, en hun internationale contacten met ondermeer fran\u0026ccedil;ois dufr\u0026ecirc;ne en henri chopin uit frankrijk (die 2 weken voor zijn dood nog te gast was in ons radio programma) en sarenco uit itali\u0026euml;.\u003cbr /\u003e\r\nook in de situationisten en hun radicaliteit! de jaren 70 en 80 punk scene met zyklome A, the dirty scums etc, het internationale netwerk van club moral, het metalen gekletter van lakoste, de noise van ob minimax, en van vortex campaign. de jaren 90 hardcore, grindcore en noise scene van onder meer agathocles, rubbish heap, mangenerated, intestinal disease\u003cbr /\u003e\r\nin heel deze geschiedenis is sinds 80 radio centraal heel belangrijk. zonder reclame en wars van eender welke vorm van commerce, muziek die je elders niet hoort en een uitgesproken links politiek beeld. op de radio zijn alle mensen waar het net over ging gepasseerd.\u003c/p\u003e\r\n\r\n\u003cp style=\"text-align: justify;\"\u003erecente ultra eczema uitgaven:\u003c/p\u003e\r\n\r\n\u003cp style=\"text-align: justify;\"\u003eorphan fairytale lp; eva\u0026rsquo;s muziek ken je, het gaat om een soort van casio psychedelica, akelig zoals een pop of een clown er akelig kunnen uitzien, doorweven met oosterse invloeden, gevonden geluidsmaterie en veel echo en delay\u003c/p\u003e\r\n\r\n\u003cp style=\"text-align: justify;\"\u003eidea fire company lp; afkomstig uit amherst massachusetts, idea fire company is voornamelijk de schoonheidsspecialist, vreemde levenskunstenaar, filmmaker en performer scott foust met zijn vrouw carla. muzikaal klinkt het als een soort van kraut ambient, met piano\u0026rsquo;s en analoge synthesizers. zeer repetitief en monotoon, zoals al zijn werk.\u003c/p\u003e\r\n\r\n\u003cp style=\"text-align: justify;\"\u003emenstruation sisters lp; australische orthodoxe joden die ze hebben vrijgelaten uit een mentaal hospitaal om een lp te maken die met niets of niemand valt te vergelijken.\u003c/p\u003e\r\n\r\n\u003cp style=\"text-align: justify;\"\u003ewout vercammen lp; opnames van de man die sinds eind jaren 50 de realiteit een klein beetje beter maakt dan ze werkelijk is! klinkt exact zoals u hem \u0026lsquo;s nachts \u0026lsquo;s middags of \u0026lsquo;s morgens tegenkomt in uw favoriete caf\u0026eacute; of supermarkt.\u003c/p\u003e\r\n\r\n\u003cp style=\"text-align: justify;\"\u003ela bamba lp; een internationale compilatie lp met enkele cover versies van de traditional \u0026lsquo;la bamba\u0026rsquo; met oa de finse melkboer tomutonttu, de duitse politie-agent kommisar hjuler, de argentijnse welzijnswerker anla courtis, de vlaamse leerkracht floris vanhoof, het enige amerikaanse lid van de antwerpse snorrenclub angst hase pfeffer nase, etc. deze plaat werd gemaakt in samenhang van een ultra eczema la bamba nacht(merrie). op dit evenement hebben meer dan 20 kunstenaars en muzikanten een versie gebracht van het nummer la bamba, terwijl dj daniel de wereldvermaarde botanicus 400 verschillende versies van datzelfde nummer speelde.\u003c/p\u003e\r\n\r\n\u003cp style=\"text-align: justify;\"\u003eSpeelden er oa: blaastaal: kunstenaar bert lezy en zijn kompanen maken muziek met vooraf opgenomen cassettes, platendraaiers, tandenborstels en gesampled radiomateriaal. ze maken ook een 2 wekelijks radioprogramma op radio centraal waar ze bijna uitsluitend gebruik maken van gestolen tv opnames / mauro pawlowski: de populaire kameleon van het belgische muzieklandschap, bracht een vocale versie. hij was erg teleurgesteld omdat er teveel lawaai was, zijn gemoed draaide om toen ieder begon te brullen en te dansen / de patacyclisten uit brussel hadden een enorme bamba koningin gemaakt die op de dansvloer gekust moest worden / mittland och leo: de allerjongsten, die op verzoek van een uitzinnig publiek hun versie 45 keer gespeeld hebben. ze gebruikten vooral samplers, casio\u0026rsquo;s en een mixer / vaast en zijn broer gingen de kraut rock tour op / harry heyrmans maakte een installatie die automatisch muziek maakt waarmee hij dan la bamba meespeelde op gitaar / etc.\u003c/p\u003e\r\n\r\n\u003cp style=\"text-align: justify;\"\u003enog?\u003c/p\u003e\r\n\r\n\u003cp style=\"text-align: justify;\"\u003elaat maar weten! kuis het wel wat op, ik kan niet typen en niet schrijven bahhhh\u003c/p\u003e\r\n\r\n\u003cp style=\"text-align: justify;\"\u003ebel even wat je denkt!\u003c/p\u003e\r\n\r\n\u003cp style=\"text-align: justify;\"\u003eXd\u003c/p\u003e\r\n"},{"locale":"fr","short_description":"","description":"\u003cp style=\"color: rgb(51, 51, 51); font-family: sans-serif,Arial,Verdana,\u0026amp;quot;trebuchet ms\u0026amp;quot;; font-size: 13px; font-style: normal; font-variant: normal; font-weight: 400; letter-spacing: normal; orphans: 2; text-align: justify; text-decoration: none; text-indent: 0px; text-transform: none; -webkit-text-stroke-width: 0px; white-space: normal; word-spacing: 0px;\"\u003e\u003cbr /\u003e\r\n\u003cbr /\u003e\r\n\u003cbr /\u003e\r\n__________\u003cbr /\u003e\r\n\u003cbr /\u003e\r\nHans Theys\u003cbr /\u003e\r\n\u003cbr /\u003e\r\n\u003cbr /\u003e\r\n\u003cstrong\u003eColourful and Buzzing Castoffs\u003cbr /\u003e\r\nThe Work of Vaast Colson and Dennis Tyfus\u003c/strong\u003e\u003cbr /\u003e\r\n\u003cbr /\u003e\r\n\u003cbr /\u003e\r\nVaast Colson\u003c/p\u003e\r\n\r\n\u003cp style=\"color: rgb(51, 51, 51); font-family: sans-serif,Arial,Verdana,\u0026amp;quot;trebuchet ms\u0026amp;quot;; font-size: 13px; font-style: normal; font-variant: normal; font-weight: 400; letter-spacing: normal; orphans: 2; text-align: justify; text-decoration: none; text-indent: 0px; text-transform: none; -webkit-text-stroke-width: 0px; white-space: normal; word-spacing: 0px;\"\u003eVaast Colson (b. 1977) studied painting at the Royal Academy of Fine Arts in Antwerp and went on to Post St. Joost in Breda, finishing there in 2001 with a performance at Artis Den Bosch. Colson\u0026rsquo;s first taste of wider public interest was for a performance that lasted six days, at the 2003 Brussels Art Fair. His gallery, Maes \u0026amp; Matthys, presented only one object, \u003cem\u003eThe Pink Sting\u003c/em\u003e. The object was a backpack that appeared to hang on the wall, but was in fact being worn by Vaast Colson, who for three days stood against the other side of that same wall. This performance is still characteristic of Colson\u0026#39;s work, which could be described as a reflection about the position of the artist, a continuous search for resistance, an exercise in perseverance and an attempt to summarize a situation in a visual image.\u003cbr /\u003e\r\n\u0026nbsp;\u0026nbsp;\u0026nbsp; Another example is an action he undertook last year as part of a television programme that, for several weeks, recorded the adventures of artists and amateurs participating in an art competition. Initially, I was surprised that Colson would take part in this shallow, doomed-to-fail spectacle, but he felt that he could not refuse something of the sort, because it is part of his duty to determine a position in regards to every proposal generated by the community. Ultimately, he squeezed out a tube of oil paint, emptying it onto a table, then sat down at the table and told the camera crew that he would remain seated until the paint had dried. After a few hours, the producer of the show presented him with a polite note, asking how long this action would go on. Colson submitted this note as his contribution to the competition.\u003cbr /\u003e\r\n\u0026nbsp;\u0026nbsp;\u0026nbsp; In general, Vaast Colson\u0026rsquo;s work is exceptionally precise and economic. After a long period of deliberating, planning, drawing and writing, he quickly and decisively shapes a sculpture, installation or action, often with the support of other artists, such as Lieven Segers, Pol Matth\u0026eacute;, Ben Meewis, Geert Saman, Dennis Tyfus or Stijn Colson, who is also his musical partner in the kraut-rock band, The Heavy Indians.\u003cbr /\u003e\r\n\u0026nbsp;\u0026nbsp;\u0026nbsp; Recently, another beautiful work by Colson was presented at Wiels in Brussels. It was a small head of a dollhouse figurine, which resembled the artist (wearing a woolen bonnet). The head perched on top of a stack of rolls of tape and overlooked the exhibition. The work was titled \u003cem\u003eOp Post \u003c/em\u003e(On Guard). I asked Colson how this work had come about. \u0026lsquo;Actually, that figure is left over from an edition that I am in the process of making, which I started last year for Art Brussels. As a kind of sequel to children organizing bartering markets with apples or eggs, I wanted to exchange a work of my own for another work, and that work for a following work, and so on. The idea behind this limited edition was to support the gallery in renting their stand, as they were not offering any of my work for sale.\u003cbr /\u003e\r\n\u0026nbsp;\u0026nbsp;\u0026nbsp; The work that I made for Wiels is a wooden box. When you push a button, a \u0026ldquo;mini-Vaast\u0026rdquo; with an apple pops up. The sides of the box are connected with hooks and eyes, and if you undo them, the box opens out like a tulip\u0026hellip; It actually came very close to my not showing anything at all at Wiels. Everything was pretty hectic, and all the space had already been allocated. So I found a place to sit down to draw, with that little doll at my feet. After a while, I put it back into my backpack, because nobody reacted to it. But that evening, Ivo Provoost and Simona Denicolai came up to me and proposed a place for that funny little doll that they had seen earlier in the day.\u0026rsquo;\u003cbr /\u003e\r\n\u0026nbsp;\u0026nbsp;\u0026nbsp; Since 2000, Colson has been working without interruption, often at the invitation of cultural institutions that expect him to respond to a specific situation with an exceptional action or reaction. One of these invitations is for the \u003cem\u003eZXZW\u003c/em\u003e festival, which will be bringing music, film, contemporary dance and visual art to Tilburg and, together with Whatspace, has invited Vaast Colson to create an opening act. The \u003cem\u003eZXZW\u003c/em\u003e website states that the organizers hope that Vaast Colson will in turn invite Dennis Tyfus. So, who is Dennis Tyfus?\u003cbr /\u003e\r\n\u003cbr /\u003e\r\n\u003cbr /\u003e\r\nDennis Tyfus\u003c/p\u003e\r\n\r\n\u003cp style=\"color: rgb(51, 51, 51); font-family: sans-serif,Arial,Verdana,\u0026amp;quot;trebuchet ms\u0026amp;quot;; font-size: 13px; font-style: normal; font-variant: normal; font-weight: 400; letter-spacing: normal; orphans: 2; text-align: justify; text-decoration: none; text-indent: 0px; text-transform: none; -webkit-text-stroke-width: 0px; white-space: normal; word-spacing: 0px;\"\u003eIn Antwerp, Tyfus is famous. Once every three or four days, you come across a poster, flyer or sticker announcing that Tyfus\u0026rsquo;s publishing firm and record label, Ultra Eczema, is organizing a concert at Scheld\u0026rsquo;apen or Bar Mondial. Dutch audiences will become acquainted with his work next September in De Brakke Grond in Amsterdam and later this year at Artis Den Bosch, where Tyfus will be programming four days of music as a response to \u003cem\u003eNovember Music\u003c/em\u003e, and probably will set up a market with editions by like-minded souls (vinyl records, booklets, posters flyers, buttons). He also exhibits large-format drawings at the Stella Lohaus Gallery in Antwerp, is a musician himself, designs record covers and T-shirts, and every Saturday afternoon, presents a fantastic radio programme on the Antwerp station, Radio Centraal.\u003cbr /\u003e\r\n\u0026nbsp;\u0026nbsp;\u0026nbsp; Dennis Tyfus (b. 1979) is fascinated by the visual poetry and noise of Paul De Vree, the Tafelronde and their international contacts, including Fran\u0026ccedil;ois Dufr\u0026ecirc;ne and Henri Chopin (who was a guest on Tyfus\u0026rsquo; radio programme two weeks before he died) from France, and Sarenco, from Italy. Tyfus produces records with Ludo Mich and Wout Vercammen, happening artists from the 1960s. He likes the Situationists and their radicalism, as well as the punk scene from the 1970s and 80s, including Zyklome A, The Dirty Scums, the international network of Club Moral, the metal clatter of Lakoste and the noise of Ob Minimax and Vortex Campaign. He is also enthusiastic about 1990s hardcore, grind core and the noise scene of Agathocles, Rubbish Heap, Mangenerated, Intestinal Disease and more. The backbone of this sound world is Radio Centraal, where all of the above have had air time in recent decades. In the past several months Tyfus\u0026rsquo;s label brought out LPs with work by Orphan Fairytale (lugubrious in the way that a doll or a clown can look lugubrious, interwoven with Eastern influences, found sound material and lots of echo and delay), Idea Fire Company (\u003cem\u003eKraut ambient\u003c/em\u003e, with pianos and analog synthesizers, very repetitive and monotonous) and Menstruation Sisters (Australian Orthodox Jews whom they had released from a mental hospital in order to make an LP that can be compared to nothing or no one).\u003cbr /\u003e\r\n\u0026nbsp;\u0026nbsp;\u0026nbsp; Tyfus began drawing when he was five, an activity his parents encouraged. As a teenager, he produced a punk magazine. He later began drawing record covers for various bands.\u003csup\u003e1\u003c/sup\u003e In 2003, he drew 300 unique record covers for a single by Trumans Water, from Portland, Oregon. The covers were exhibited at Lokaal01 in Antwerp. A year earlier, in a space outside the Antwerp art circuit, he had exhibited a series of drawings that caught the attention of Stella Lohaus, who currently runs one of Antwerp\u0026#39;s top galleries. Since then, Tyfus has also been a gallery artist, without it having interfered in the least with his other activities. Tyfus is not at all preoccupied with art and even less with the art world. He is simply unceasingly active in hundreds of appealing and well-executed activities that he considers of vital importance: music, drawing, magazines, posters, vinyl records, radio programmes, concerts and performances.\u003cbr /\u003e\r\n\u0026nbsp;\u0026nbsp;\u0026nbsp; Dennis Tyfus, like Panamarenko, for example, has no \u0026lsquo;artistic aims\u0026rsquo;, in the sense that he is not forever asking himself how he can make something that resembles art or that would be considered art by some imaginary viewer, gallery owner or, God have mercy, a theorist. The result of his impressive, indefatigable force is a stream of beautifully made images\u0026nbsp; spreading out like a trail of residu. Part of this trail includes the large drawings that he makes for the gallery. He creates these drawings with black Posca paint markers on coloured backgrounds. In earlier works, the backgrounds were made up of sprayed patches in different colours. Now they consist of fluorescent monochromes. In the drawings, pores, tears, beads of sweat, acne, beard stubbles, spots, beauty marks, veins and hairs feature as pixels of a vibrating pattern. Recent drawings have shown a shift in form. The works are now primarily built up from thin stripes, each in different shapes. The drawings are consistently flat, without shadows, although in one recent drawing, a realistic head of a bear appears, with graduated shading around the eyes and under the mouth, looking as though a terrible nightmare had just broken through the thin wall of a cartoonlike world.\u003cbr /\u003e\r\n\u003cbr /\u003e\r\n\u003cbr /\u003e\r\nAntwerp\u003c/p\u003e\r\n\r\n\u003cp style=\"color: rgb(51, 51, 51); font-family: sans-serif,Arial,Verdana,\u0026amp;quot;trebuchet ms\u0026amp;quot;; font-size: 13px; font-style: normal; font-variant: normal; font-weight: 400; letter-spacing: normal; orphans: 2; text-align: justify; text-decoration: none; text-indent: 0px; text-transform: none; -webkit-text-stroke-width: 0px; white-space: normal; word-spacing: 0px;\"\u003eBoth Vaast Colson and Dennis Tyfus live in Antwerp. It is always difficult to describe the art world in your own country, because you are inundated by all the details, but comparatively speaking, there is a remarkable amount of very strong art being produced in Antwerp. Historically, this can be explained by the presence of the harbour and the proximity of the Netherlands (Cobra in the 1950s and Amsterdam in the 1960s), the revolutionary and visionary exhibitions of the exceptional Wide White Space gallery in the 1960s and \u0026lsquo;70s and, more recently, the presence of the world-famous fashion academy, which has brought a continual influx of bright young artists from all over the world. The numbers of young artists, all producing diverse and often stunning work, can no longer be counted in single digits: Kati Heck, Tamara Van San, Nadia Naveau, Andy Wauman, Lara Dhondt, Lieven Segers, Pol Matth\u0026eacute;, Philip Janssens, Leon Vranken, Tim Segers, Lode Geens, Hans Wuyts, Anton Cotteleer, Kris Vleeschouwer, Benjamin Verdonck, Ilke and Erki De Vries, Nick Andrews, Tom Liekens, Rinus Van De Velde, Ulysse Ost and many, many more.\u003cbr /\u003e\r\n\u0026nbsp;\u0026nbsp;\u0026nbsp; Colson and Tyfus both make beautiful, three-dimensional works and both are involved with music. Colson comes from an environment of university-trained people (he is named after an economist), while Tyfus is from a working-class family (he was named after a cartoon character). Colson studied at two art academies, while we suspect Tyfus may never have finished primary school, might have spent a day and a half apprenticed to a leather worker and had a single summer job in a dog food factory in \u0026rsquo;s-Hertogenbosch. Colson\u0026rsquo;s work gives new forms to a continuous reflection on the meaning, potential and limitations of contemporary art. It is work in which considerable thought is given to the necessity and the hopelessness of the visual image. It is almost exclusively created in art environments (galleries, cultural centres, theatres, art fairs or museums). In contrast, I would refer to Tyfus\u0026rsquo; work not as work, but as a way of being: an uninterrupted stream of images, things, objects, deeds and other involvements that have nothing whatsoever to do with the art world, but that at the same time can be nothing other than works of art.\u003cbr /\u003e\r\n\u003cbr /\u003e\r\n\u003cbr /\u003e\r\nCollaboration\u003c/p\u003e\r\n\r\n\u003cp style=\"color: rgb(51, 51, 51); font-family: sans-serif,Arial,Verdana,\u0026amp;quot;trebuchet ms\u0026amp;quot;; font-size: 13px; font-style: normal; font-variant: normal; font-weight: 400; letter-spacing: normal; orphans: 2; text-align: justify; text-decoration: none; text-indent: 0px; text-transform: none; -webkit-text-stroke-width: 0px; white-space: normal; word-spacing: 0px;\"\u003eIn September, 2006, Dennis Tyfus and Vaast Colson exhibited together in their own galleries, Stella Lohaus and Maes \u0026amp; Matthys. The two galleries are situated in different streets, but Colson discovered that they adjoined one another. A large opening was made in the wall that separated the two galleries, so that visitors could walk from one exhibition space into the other. Colson built a wooden kiosk in Tyfus\u0026#39; gallery and Tyfus showed large drawings and an animation film in Colson\u0026rsquo;s. Tyfus organized performances in Colson\u0026rsquo;s kiosk, which could be seen from a small mezzanine built by Colson. Working this way is typical of both artists. Tyfus takes advantage of a situation in order to programme things he wants to see himself, while Colson attempts to push the parameters of an exhibition location, as well as redefining his own relationship with the gallery owners. Tyfus is concerned with the things themselves, while Colson\u0026rsquo;s concern is the image. Both produce beautiful works that come tumbling out of their respective activities like colourful and buzzing castoffs.\u003cbr /\u003e\r\n\u003cbr /\u003e\r\n\u003cbr /\u003e\r\nMontagne de Miel, May 24\u003csup\u003eth\u003c/sup\u003e 2009\u003c/p\u003e\r\n"},{"locale":"ru","short_description":"","description":""},{"locale":"de","short_description":"","description":"\u003cp style=\"color: rgb(51, 51, 51); font-family: sans-serif,Arial,Verdana,\u0026amp;quot;trebuchet ms\u0026amp;quot;; font-size: 13px; font-style: normal; font-variant: normal; font-weight: 400; letter-spacing: normal; orphans: 2; text-align: justify; text-decoration: none; text-indent: 0px; text-transform: none; -webkit-text-stroke-width: 0px; white-space: normal; word-spacing: 0px;\"\u003e\u003cbr /\u003e\r\n\u003cbr /\u003e\r\n\u003cbr /\u003e\r\n__________\u003cbr /\u003e\r\n\u003cbr /\u003e\r\nHans Theys\u003cbr /\u003e\r\n\u003cbr /\u003e\r\n\u003cbr /\u003e\r\n\u003cstrong\u003eColourful and Buzzing Castoffs\u003cbr /\u003e\r\nThe Work of Vaast Colson and Dennis Tyfus\u003c/strong\u003e\u003cbr /\u003e\r\n\u003cbr /\u003e\r\n\u003cbr /\u003e\r\nVaast Colson\u003c/p\u003e\r\n\r\n\u003cp style=\"color: rgb(51, 51, 51); font-family: sans-serif,Arial,Verdana,\u0026amp;quot;trebuchet ms\u0026amp;quot;; font-size: 13px; font-style: normal; font-variant: normal; font-weight: 400; letter-spacing: normal; orphans: 2; text-align: justify; text-decoration: none; text-indent: 0px; text-transform: none; -webkit-text-stroke-width: 0px; white-space: normal; word-spacing: 0px;\"\u003eVaast Colson (b. 1977) studied painting at the Royal Academy of Fine Arts in Antwerp and went on to Post St. Joost in Breda, finishing there in 2001 with a performance at Artis Den Bosch. Colson\u0026rsquo;s first taste of wider public interest was for a performance that lasted six days, at the 2003 Brussels Art Fair. His gallery, Maes \u0026amp; Matthys, presented only one object, \u003cem\u003eThe Pink Sting\u003c/em\u003e. The object was a backpack that appeared to hang on the wall, but was in fact being worn by Vaast Colson, who for three days stood against the other side of that same wall. This performance is still characteristic of Colson\u0026#39;s work, which could be described as a reflection about the position of the artist, a continuous search for resistance, an exercise in perseverance and an attempt to summarize a situation in a visual image.\u003cbr /\u003e\r\n\u0026nbsp;\u0026nbsp;\u0026nbsp; Another example is an action he undertook last year as part of a television programme that, for several weeks, recorded the adventures of artists and amateurs participating in an art competition. Initially, I was surprised that Colson would take part in this shallow, doomed-to-fail spectacle, but he felt that he could not refuse something of the sort, because it is part of his duty to determine a position in regards to every proposal generated by the community. Ultimately, he squeezed out a tube of oil paint, emptying it onto a table, then sat down at the table and told the camera crew that he would remain seated until the paint had dried. After a few hours, the producer of the show presented him with a polite note, asking how long this action would go on. Colson submitted this note as his contribution to the competition.\u003cbr /\u003e\r\n\u0026nbsp;\u0026nbsp;\u0026nbsp; In general, Vaast Colson\u0026rsquo;s work is exceptionally precise and economic. After a long period of deliberating, planning, drawing and writing, he quickly and decisively shapes a sculpture, installation or action, often with the support of other artists, such as Lieven Segers, Pol Matth\u0026eacute;, Ben Meewis, Geert Saman, Dennis Tyfus or Stijn Colson, who is also his musical partner in the kraut-rock band, The Heavy Indians.\u003cbr /\u003e\r\n\u0026nbsp;\u0026nbsp;\u0026nbsp; Recently, another beautiful work by Colson was presented at Wiels in Brussels. It was a small head of a dollhouse figurine, which resembled the artist (wearing a woolen bonnet). The head perched on top of a stack of rolls of tape and overlooked the exhibition. The work was titled \u003cem\u003eOp Post \u003c/em\u003e(On Guard). I asked Colson how this work had come about. \u0026lsquo;Actually, that figure is left over from an edition that I am in the process of making, which I started last year for Art Brussels. As a kind of sequel to children organizing bartering markets with apples or eggs, I wanted to exchange a work of my own for another work, and that work for a following work, and so on. The idea behind this limited edition was to support the gallery in renting their stand, as they were not offering any of my work for sale.\u003cbr /\u003e\r\n\u0026nbsp;\u0026nbsp;\u0026nbsp; The work that I made for Wiels is a wooden box. When you push a button, a \u0026ldquo;mini-Vaast\u0026rdquo; with an apple pops up. The sides of the box are connected with hooks and eyes, and if you undo them, the box opens out like a tulip\u0026hellip; It actually came very close to my not showing anything at all at Wiels. Everything was pretty hectic, and all the space had already been allocated. So I found a place to sit down to draw, with that little doll at my feet. After a while, I put it back into my backpack, because nobody reacted to it. But that evening, Ivo Provoost and Simona Denicolai came up to me and proposed a place for that funny little doll that they had seen earlier in the day.\u0026rsquo;\u003cbr /\u003e\r\n\u0026nbsp;\u0026nbsp;\u0026nbsp; Since 2000, Colson has been working without interruption, often at the invitation of cultural institutions that expect him to respond to a specific situation with an exceptional action or reaction. One of these invitations is for the \u003cem\u003eZXZW\u003c/em\u003e festival, which will be bringing music, film, contemporary dance and visual art to Tilburg and, together with Whatspace, has invited Vaast Colson to create an opening act. The \u003cem\u003eZXZW\u003c/em\u003e website states that the organizers hope that Vaast Colson will in turn invite Dennis Tyfus. So, who is Dennis Tyfus?\u003cbr /\u003e\r\n\u003cbr /\u003e\r\n\u003cbr /\u003e\r\nDennis Tyfus\u003c/p\u003e\r\n\r\n\u003cp style=\"color: rgb(51, 51, 51); font-family: sans-serif,Arial,Verdana,\u0026amp;quot;trebuchet ms\u0026amp;quot;; font-size: 13px; font-style: normal; font-variant: normal; font-weight: 400; letter-spacing: normal; orphans: 2; text-align: justify; text-decoration: none; text-indent: 0px; text-transform: none; -webkit-text-stroke-width: 0px; white-space: normal; word-spacing: 0px;\"\u003eIn Antwerp, Tyfus is famous. Once every three or four days, you come across a poster, flyer or sticker announcing that Tyfus\u0026rsquo;s publishing firm and record label, Ultra Eczema, is organizing a concert at Scheld\u0026rsquo;apen or Bar Mondial. Dutch audiences will become acquainted with his work next September in De Brakke Grond in Amsterdam and later this year at Artis Den Bosch, where Tyfus will be programming four days of music as a response to \u003cem\u003eNovember Music\u003c/em\u003e, and probably will set up a market with editions by like-minded souls (vinyl records, booklets, posters flyers, buttons). He also exhibits large-format drawings at the Stella Lohaus Gallery in Antwerp, is a musician himself, designs record covers and T-shirts, and every Saturday afternoon, presents a fantastic radio programme on the Antwerp station, Radio Centraal.\u003cbr /\u003e\r\n\u0026nbsp;\u0026nbsp;\u0026nbsp; Dennis Tyfus (b. 1979) is fascinated by the visual poetry and noise of Paul De Vree, the Tafelronde and their international contacts, including Fran\u0026ccedil;ois Dufr\u0026ecirc;ne and Henri Chopin (who was a guest on Tyfus\u0026rsquo; radio programme two weeks before he died) from France, and Sarenco, from Italy. Tyfus produces records with Ludo Mich and Wout Vercammen, happening artists from the 1960s. He likes the Situationists and their radicalism, as well as the punk scene from the 1970s and 80s, including Zyklome A, The Dirty Scums, the international network of Club Moral, the metal clatter of Lakoste and the noise of Ob Minimax and Vortex Campaign. He is also enthusiastic about 1990s hardcore, grind core and the noise scene of Agathocles, Rubbish Heap, Mangenerated, Intestinal Disease and more. The backbone of this sound world is Radio Centraal, where all of the above have had air time in recent decades. In the past several months Tyfus\u0026rsquo;s label brought out LPs with work by Orphan Fairytale (lugubrious in the way that a doll or a clown can look lugubrious, interwoven with Eastern influences, found sound material and lots of echo and delay), Idea Fire Company (\u003cem\u003eKraut ambient\u003c/em\u003e, with pianos and analog synthesizers, very repetitive and monotonous) and Menstruation Sisters (Australian Orthodox Jews whom they had released from a mental hospital in order to make an LP that can be compared to nothing or no one).\u003cbr /\u003e\r\n\u0026nbsp;\u0026nbsp;\u0026nbsp; Tyfus began drawing when he was five, an activity his parents encouraged. As a teenager, he produced a punk magazine. He later began drawing record covers for various bands.\u003csup\u003e1\u003c/sup\u003e In 2003, he drew 300 unique record covers for a single by Trumans Water, from Portland, Oregon. The covers were exhibited at Lokaal01 in Antwerp. A year earlier, in a space outside the Antwerp art circuit, he had exhibited a series of drawings that caught the attention of Stella Lohaus, who currently runs one of Antwerp\u0026#39;s top galleries. Since then, Tyfus has also been a gallery artist, without it having interfered in the least with his other activities. Tyfus is not at all preoccupied with art and even less with the art world. He is simply unceasingly active in hundreds of appealing and well-executed activities that he considers of vital importance: music, drawing, magazines, posters, vinyl records, radio programmes, concerts and performances.\u003cbr /\u003e\r\n\u0026nbsp;\u0026nbsp;\u0026nbsp; Dennis Tyfus, like Panamarenko, for example, has no \u0026lsquo;artistic aims\u0026rsquo;, in the sense that he is not forever asking himself how he can make something that resembles art or that would be considered art by some imaginary viewer, gallery owner or, God have mercy, a theorist. The result of his impressive, indefatigable force is a stream of beautifully made images\u0026nbsp; spreading out like a trail of residu. Part of this trail includes the large drawings that he makes for the gallery. He creates these drawings with black Posca paint markers on coloured backgrounds. In earlier works, the backgrounds were made up of sprayed patches in different colours. Now they consist of fluorescent monochromes. In the drawings, pores, tears, beads of sweat, acne, beard stubbles, spots, beauty marks, veins and hairs feature as pixels of a vibrating pattern. Recent drawings have shown a shift in form. The works are now primarily built up from thin stripes, each in different shapes. The drawings are consistently flat, without shadows, although in one recent drawing, a realistic head of a bear appears, with graduated shading around the eyes and under the mouth, looking as though a terrible nightmare had just broken through the thin wall of a cartoonlike world.\u003cbr /\u003e\r\n\u003cbr /\u003e\r\n\u003cbr /\u003e\r\nAntwerp\u003c/p\u003e\r\n\r\n\u003cp style=\"color: rgb(51, 51, 51); font-family: sans-serif,Arial,Verdana,\u0026amp;quot;trebuchet ms\u0026amp;quot;; font-size: 13px; font-style: normal; font-variant: normal; font-weight: 400; letter-spacing: normal; orphans: 2; text-align: justify; text-decoration: none; text-indent: 0px; text-transform: none; -webkit-text-stroke-width: 0px; white-space: normal; word-spacing: 0px;\"\u003eBoth Vaast Colson and Dennis Tyfus live in Antwerp. It is always difficult to describe the art world in your own country, because you are inundated by all the details, but comparatively speaking, there is a remarkable amount of very strong art being produced in Antwerp. Historically, this can be explained by the presence of the harbour and the proximity of the Netherlands (Cobra in the 1950s and Amsterdam in the 1960s), the revolutionary and visionary exhibitions of the exceptional Wide White Space gallery in the 1960s and \u0026lsquo;70s and, more recently, the presence of the world-famous fashion academy, which has brought a continual influx of bright young artists from all over the world. The numbers of young artists, all producing diverse and often stunning work, can no longer be counted in single digits: Kati Heck, Tamara Van San, Nadia Naveau, Andy Wauman, Lara Dhondt, Lieven Segers, Pol Matth\u0026eacute;, Philip Janssens, Leon Vranken, Tim Segers, Lode Geens, Hans Wuyts, Anton Cotteleer, Kris Vleeschouwer, Benjamin Verdonck, Ilke and Erki De Vries, Nick Andrews, Tom Liekens, Rinus Van De Velde, Ulysse Ost and many, many more.\u003cbr /\u003e\r\n\u0026nbsp;\u0026nbsp;\u0026nbsp; Colson and Tyfus both make beautiful, three-dimensional works and both are involved with music. Colson comes from an environment of university-trained people (he is named after an economist), while Tyfus is from a working-class family (he was named after a cartoon character). Colson studied at two art academies, while we suspect Tyfus may never have finished primary school, might have spent a day and a half apprenticed to a leather worker and had a single summer job in a dog food factory in \u0026rsquo;s-Hertogenbosch. Colson\u0026rsquo;s work gives new forms to a continuous reflection on the meaning, potential and limitations of contemporary art. It is work in which considerable thought is given to the necessity and the hopelessness of the visual image. It is almost exclusively created in art environments (galleries, cultural centres, theatres, art fairs or museums). In contrast, I would refer to Tyfus\u0026rsquo; work not as work, but as a way of being: an uninterrupted stream of images, things, objects, deeds and other involvements that have nothing whatsoever to do with the art world, but that at the same time can be nothing other than works of art.\u003cbr /\u003e\r\n\u003cbr /\u003e\r\n\u003cbr /\u003e\r\nCollaboration\u003c/p\u003e\r\n\r\n\u003cp style=\"color: rgb(51, 51, 51); font-family: sans-serif,Arial,Verdana,\u0026amp;quot;trebuchet ms\u0026amp;quot;; font-size: 13px; font-style: normal; font-variant: normal; font-weight: 400; letter-spacing: normal; orphans: 2; text-align: justify; text-decoration: none; text-indent: 0px; text-transform: none; -webkit-text-stroke-width: 0px; white-space: normal; word-spacing: 0px;\"\u003eIn September, 2006, Dennis Tyfus and Vaast Colson exhibited together in their own galleries, Stella Lohaus and Maes \u0026amp; Matthys. The two galleries are situated in different streets, but Colson discovered that they adjoined one another. A large opening was made in the wall that separated the two galleries, so that visitors could walk from one exhibition space into the other. Colson built a wooden kiosk in Tyfus\u0026#39; gallery and Tyfus showed large drawings and an animation film in Colson\u0026rsquo;s. Tyfus organized performances in Colson\u0026rsquo;s kiosk, which could be seen from a small mezzanine built by Colson. Working this way is typical of both artists. Tyfus takes advantage of a situation in order to programme things he wants to see himself, while Colson attempts to push the parameters of an exhibition location, as well as redefining his own relationship with the gallery owners. Tyfus is concerned with the things themselves, while Colson\u0026rsquo;s concern is the image. Both produce beautiful works that come tumbling out of their respective activities like colourful and buzzing castoffs.\u003cbr /\u003e\r\n\u003cbr /\u003e\r\n\u003cbr /\u003e\r\nMontagne de Miel, May 24\u003csup\u003eth\u003c/sup\u003e 2009\u003c/p\u003e\r\n"},{"locale":"es","short_description":"","description":""},{"locale":"el","short_description":"","description":""}],"actors":[]}