traces of paths

Yuji Agematsu


[The] multi-part sculpture 01-01-2014 – 12-31-2014 is comprised of 365 cellophane wrappers from cigarette packs arranged on shelving units throughout the gallery. For over 25 years Agematsu has filled a cellophane wrapper per day with detritus collected on walks through the streets of New York. The cellophanes in the exhibition are grouped together into the 12 months of 2014, each small, vitrine-like element calendaring the ebb and flow of the city’s discarded material.

(source: http://www.contemporaryartdaily.com/2015/06/yuji-agematsu-at-real-fine-arts-2/ )


Written by rmcrs

October 31, 2018 at 07:00

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ReneeVanTrier-Schermafdruk 2018-08-17 22.58.55

(source: Instagram: renauystacy)

Written by rmcrs

August 17, 2018 at 21:08

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“De betekenis van de minder eenduidige emoji is voortdurend, en van persoon tot persoon, aan verschuiving onderhevig. Dat we van onze beste vrienden niet precies weten hoe ze onze ‘gepaneerde garnaal’🍤 interpreteren (als er geen Japans diner gepland staat), maakt het des te leuker hem te sturen. Net als de ‘zwevende man in pak’🕴, de ‘wapperende vissen’🎏 en de ‘lachende drol’💩 voorziet 🍤 in de behoefte om eens niet te voldoen aan de alomtegenwoordige eis van montere helderheid.”

bron: https://decorrespondent.nl/6756/omg-mn-moeder-gebruikt-emoji-of-waarom-taalverrijking-is/1522078332456-e632e963

Written by rmcrs

July 26, 2018 at 06:41

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Schermafdruk 2017-10-31 19.00.jpg

The whole world is mad, everyone plays theatre.
They never will fool us, we see behind the scenery.
There things look quite different.

Richard Strauss, Capriccio, Scene 11

(image: Dismounting exhibition Camiel Van Breedam – Dossin Kazerne Mechelen – August 2017)

Written by rmcrs

July 11, 2018 at 17:28

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“The school (through the teacher, school discipline and architecture) makes it possible for the new generation to become attentive to some-thing, that is, to the world. Therefore, the third feature we wish to mention here is that the school makes attentive. In that sense, subject matter or things – disconnected from particular usages and positions – become very real at school. Of course not as a kind of resource, product or any other object that is occupied by and part of a particular economy. The magical event of the school is that it turns matter into some-thing, that is, something to study or to exercise. School then becomes a place and time of inter-esse, and thereby a place where the young generation is not approached as persons who have (specific, individual) needs and wish to choose, but as persons who are exposed to the world and are given the opportunity to become interested in some-thing. The school is not about calculation and choice, but about attention and becoming interested in some-thing.”



(Masschelein, J., & Simons, M. (2013). School: a matter of form. In P. Gielen & P. De Bruyne (Eds.), Teaching art in the neoliberal realm: realism versus cynicism (pp. 69–83). Amsterdam: Valiz.)

Written by rmcrs

May 18, 2018 at 19:20

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sa – shay

Schermafdruk 2018-05-18 21.07.18

Written by rmcrs

May 18, 2018 at 19:09

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unprofessional artist

…An artist needs the courage to act alone and a community that makes such acts more bearable. One that allows us to be vulnerable, inappropriate, to go rogue, go wild, act weird, and fail.

To be amateurs, dabblers, dilettantes.

An amateur is filled with love beyond compensation, the dabblers fearlessly go places they don’t belong, the dilettantes happily lack the hidebound pretensions of experts. When we step out of the imposed confines of professionalism, we can be as open as students, able to flirt with other modes, to seek knowledge, experience, and value in our lives without limits.

Stripped away of institutional validation and the pressures of the market, we are free to be human, to be artists, to be unprofessional.




Written by rmcrs

March 27, 2018 at 18:29

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