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<channel>
	<title>moss - curatorial collective</title>
	<link>https://curatedbymoss.com</link>
	<description>moss - curatorial collective</description>
	<pubDate>Sat, 25 Mar 2023 09:36:28 +0000</pubDate>
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		<title>Front page</title>
				
		<link>https://curatedbymoss.com/Front-page</link>

		<pubDate>Thu, 23 Mar 2023 08:44:24 +0000</pubDate>

		<dc:creator>moss - curatorial collective</dc:creator>

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&#60;img width="1899" height="607" width_o="1899" height_o="607" data-src="https://freight.cargo.site/t/original/i/1f0ad99a3e1295189560cb1b8e8940fda9118c259a3d9b9334ce1b8ce2d918d4/moss1.jpeg" data-mid="175751749" border="0" data-no-zoom src="https://freight.cargo.site/w/1000/i/1f0ad99a3e1295189560cb1b8e8940fda9118c259a3d9b9334ce1b8ce2d918d4/moss1.jpeg" /&#62;




 From&#38;nbsp;British mosses, their homes, aspects, structure and uses : with a coloured figure of each species etched from nature&#38;nbsp;(1874)</description>
		
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	<item>
		<title>Mobile nav</title>
				
		<link>https://curatedbymoss.com/Mobile-nav</link>

		<pubDate>Thu, 23 Mar 2023 08:44:24 +0000</pubDate>

		<dc:creator>moss - curatorial collective</dc:creator>

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		<description>
projectsDeal with it ONGOINGInbox Interference&#38;nbsp;ONGOING 
Toxic Relationships&#38;nbsp;2022
(un)broken&#38;nbsp;2022  
État transitoire 2021
n o s h o w s h o w 2020



	
	</description>
		
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	<item>
		<title>Inbox Interference</title>
				
		<link>https://curatedbymoss.com/Inbox-Interference</link>

		<pubDate>Thu, 23 Mar 2023 13:02:34 +0000</pubDate>

		<dc:creator>moss - curatorial collective</dc:creator>

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		<description>
	Inbox Interference
Online projectOngoing
︎ Subscribe to receive an invitation to something unpredictable and enticing.

	The digital content we encounter daily is mesmerizing, perpetually regenerated, but often quickly forgotten. The stream of texts, images and videos are consumed en masse, but rarely have a lasting perceptible impact on its consumers. It stays merely afloat in the online realm. 

For&#38;nbsp;Inbox interference, we selected digital artworks that aim to have a small but significant impact on your digital routine.

A collection of artworks conceived and mediated through the digital format will be shared in a series of newsletters.Check the previous newsletters :&#38;nbsp;
︎ Marc Buchy︎ Emi Kodama
︎ Jonas Beerts




&#60;img width="1080" height="1080" width_o="1080" height_o="1080" data-src="https://freight.cargo.site/t/original/i/392c675f83ffa3361512acaedbd94c0a809146da97a0dadfd1f0250ca652282f/Inbox-Interference_socials5.jpg" data-mid="172991144" border="0"  src="https://freight.cargo.site/w/1000/i/392c675f83ffa3361512acaedbd94c0a809146da97a0dadfd1f0250ca652282f/Inbox-Interference_socials5.jpg" /&#62;</description>
		
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	<item>
		<title>Marc Buchy</title>
				
		<link>https://curatedbymoss.com/Marc-Buchy</link>

		<pubDate>Sat, 25 Mar 2023 09:17:47 +0000</pubDate>

		<dc:creator>moss - curatorial collective</dc:creator>

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		<description>
	Marc Buchy
Gymnastique Oculaire

︎ Subscribe to Inbox Interference.

Keywords : knowledge, control, acquisition, conceptual, surveillance, tool, activation, point of view, movement, ocular, visual fatigue, physical experience, body, humour, protocol, learning, capitalism, performance

	The contemporary eye is constantly pushed to its limit, exposed to thousands of images a day. How many images have you already seen today before reading this?

Reflecting with humor on the notions of performance, mechanization and learning, the conceptual works of the artist Marc Buchy questions the act of watching. They are invitations to grasp and perform within the space offered by his protocols. 

In Gymnastique Oculaire, the symbols – arrows, spiral, square – could conceal some hidden meaning, abstract visualization of complex realities. They are in fact originating from a series of numbered instructions, yoga exercises to train your eye-balls and build up muscle. Did you know that no less than 7 muscles control the movements of each eye? 

Straight lines, then diagonals, zig zag and loops gradually makes the exercice your eyes have to perform more and more difficult. In a society pushing everyone to its limits, even the eye doesn’t escape this culture of performance. 
But does a fit eye see better? What about a trained eye? Does it enhance your visual performance? 

If you take a few minutes&#38;nbsp;to practice&#38;nbsp;these exercises every day, including this tiny and almost invisible choreography in your workout routine, let us know.



&#60;img width="922" height="650" width_o="922" height_o="650" data-src="https://freight.cargo.site/t/original/i/fe1dede56a519237d8c668da79acd7705403472d11d1ea10b3723be0bd1be065/82_gymnastique-occulaire-facea-web-copie.jpg" data-mid="173026805" border="0" data-no-zoom src="https://freight.cargo.site/w/922/i/fe1dede56a519237d8c668da79acd7705403472d11d1ea10b3723be0bd1be065/82_gymnastique-occulaire-facea-web-copie.jpg" /&#62;



RicochetsA subjective selection of links echoing this work, like ripples︎&#38;nbsp;Strauss, Hannah Hoch ︎  Ways of seeing, Grace Ndiritu (en)︎  Les sonas, Index Graphic (fr)︎  Drishti Bheda, Eye movemements in Bharatanatyam︎  Subject Matter, John Baldessari

Marc Buchy
Born in 1988 in Metz, Marc Buchy lives and works in Bruxelles. 
During his studies, the artist committed to never learn dance and astronomy, thus affirming the value of amateurism as an approach to disciplines. The question of knowledge, how it is shared, appropriated, how it circulates, is central to his practice.

In his works, often conceptual, sometimes immaterial, he develops processes and protocols, often implying the participation of the public. He’s interested in the way we see, processes of domination and transmission. 

Website : http://www.marcbuchy.com/

I want to go further :︎&#38;nbsp;Watch this video interview for Marc Buchy’s exhibition at BPS22 in 2020
︎&#38;nbsp;Watch this conference of Marc Buchy at ENSP (Arles) in 2022</description>
		
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	<item>
		<title>Emi Kodama</title>
				
		<link>https://curatedbymoss.com/Emi-Kodama</link>

		<pubDate>Sat, 25 Mar 2023 09:27:35 +0000</pubDate>

		<dc:creator>moss - curatorial collective</dc:creator>

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		<description>
	Emi KodamaAt the tip of your pencil

︎ Subscribe to Inbox Interference.

Keywords : imagination, landscape, drawing, blindness, focus, hand, interiority

	“You are invited to listen to a story which guides you in making a drawing while blindfolded.
You are asked to imagine their mind’s eye at the tip of their pencil and draw what you see in your inner landscape. 

Drawing helps&#38;nbsp;concentrate&#38;nbsp;imagination and the experience of looking is more important than the result. I begin by telling you&#38;nbsp;a story that take you&#38;nbsp;into the forest.
The resulting drawing isn’t important at all. It’s simply the residue of the internal journey you take.”

Material needed : – blindfold– pencil– paper (preferably A3)– headphones (recommanded)

Duration : 12 min

Prepare the paper and pencil and launch the mp3. Emi Kodama’s voice will guide you.
︎ Listen to the instructions for At the tip of your pencil 



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RicochetsA subjective selection of links echoing this work, like ripples︎&#38;nbsp;Browse through ekphrastic poems︎ Giuseppe Penone, Palpebra ︎&#38;nbsp;Jean Tinguely demonstrates his Meta-Matics machines (1959)︎ Paul Auster, White Spaces︎ Hercules Seghers, An introduction 

Emi Kodama

Through a multidisciplinary practice that includes writing, performance, and installation, Emi layers&#38;nbsp;elements of daily life with dreams and memories to create stories&#38;nbsp;that people can explore and expand.&#38;nbsp;Her work blends your inner world&#38;nbsp;with hers. She wants to give others the opportunity to spend time&#38;nbsp;in&#38;nbsp;their mental space — for them to be curious, ask questions, and&#38;nbsp;realize the power of their own&#38;nbsp;imagination.

Emi is a Japanese-Canadian artist from Vancouver and has been in Belgium&#38;nbsp;since 2008 when she&#38;nbsp;started the post-graduate program at the Higher&#38;nbsp;Institute for Fine Arts (HISK). She holds an MFA&#38;nbsp;from the Frank Mohr&#38;nbsp;Institute (NL) and a BFA from the ArtEZ Institute of the Arts (NL).&#38;nbsp;She lives&#38;nbsp;in Ghent with partner and collaborator Elias Heuninck and&#38;nbsp;their son.

“Stories can take many forms and I make use of their mutable nature through a multidisciplinary practice including video, photography, drawing, writing, and performance. My work focuses on the every day like the short stories of Raymond Carver, who writes about daily struggles with a minimalism that emphasizes brevity and intensity. Similarly, I attempt to be precise about the commonplace in a way that sheds new light on familiar objects andsituations. My work is biographical on the surface, but the initial sense of familiarity is often undermined by gaps in the narrative that leave one with a feeling of alienation. The discrepancy between different parts of my storiesevokes the ambiguity of situations in daily life and the discomfort of facing conflicting thoughts.”

Website :&#38;nbsp;https://emikodama.com
</description>
		
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	<item>
		<title>Jonas Beerts</title>
				
		<link>https://curatedbymoss.com/Jonas-Beerts</link>

		<pubDate>Sat, 25 Mar 2023 09:36:28 +0000</pubDate>

		<dc:creator>moss - curatorial collective</dc:creator>

		<guid isPermaLink="true">https://curatedbymoss.com/Jonas-Beerts</guid>

		<description>
	Jonas BeertsHow I learned tears can’t fill rivers

︎ Subscribe to Inbox Interference.

Keywords : labyrinth, hyperlinks, architect, loop, inside, colors, house, architect, inside, path, song

	DearestDon’t go to strangersis what they told me when I was younger I am a stranger myself nowinviting you to follow meThere is a color for every pathA riddle for every colorA voice for every riddle

Don’t be afraid of my voiceI won’t fool youI won’t seduce youI won’t stop singing until you are gone We sing for the places we can’t go&#38;nbsp;toFor the people we can’t seePush hard on woundswas my mothers’ advice Trade pain for tearsmy fathers’ refrainI learned that tears can’t fill riversHis excrements are everywhereI try to prevent intestines from falling out of our bodiesI try to postpone missing youWhat remains is the longing to sing and to&#38;nbsp;be sung

Sincerely yours




&#60;img width="1432" height="742" width_o="1432" height_o="742" data-src="https://freight.cargo.site/t/original/i/46a8e77395770476de64a01388c95877b42562e8e2c85f98cf4c9e775da414af/Capture-decran-2022-05-07-a-21.11.20.png" data-mid="173027159" border="0" data-no-zoom src="https://freight.cargo.site/w/1000/i/46a8e77395770476de64a01388c95877b42562e8e2c85f98cf4c9e775da414af/Capture-decran-2022-05-07-a-21.11.20.png" /&#62;



RicochetsA subjective selection of links echoing this work, like ripples︎ Labyrinth – Four times through the labyrinth, Olaf Nicolai et Jan Wenzel︎ Primal Images, Natalia Ossef︎ 13 Essential Rules for Understanding the World, Basim Magdy, 2011, Super 8 film transferred to HD, 5 min 16 ︎ Falsos Amigos, Lihuel González,︎ Autofiction Poems, Pedro Neves Marques

Jonas Beerts

Jonas Beerts was born on a Wednesday in the summer of 1997 and has been a bricoleur of images ever since.At the age of six, Jonas took up a camera and has been a Stone cold lover of photography ever since.At the age of 18, Jonas started his studies of photography at KASK, Ghent.At the age of 23, he graduated with a big pile of media at his feet. He cunningly stumbles over the pile and tries to make the best out of it.Jonas loves Sarah, and vice versa.They love each other so much they started sharing a practice together.They go under Sarah &#38;amp; Jonas or Jonas &#38;amp; Sarah. Whatever floats your boat.His eyes are attracted by two lovebirds on a windowsill across the streets.His head drifts away through the open window.He invites you to follow.

Website :&#38;nbsp;https://jonasbeerts.be/
︎ @jonasbeerts
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	<item>
		<title>n o s h o w s h o w</title>
				
		<link>https://curatedbymoss.com/n-o-s-h-o-w-s-h-o-w-1</link>

		<pubDate>Thu, 23 Mar 2023 13:06:31 +0000</pubDate>

		<dc:creator>moss - curatorial collective</dc:creator>

		<guid isPermaLink="true">https://curatedbymoss.com/n-o-s-h-o-w-s-h-o-w-1</guid>

		<description>
	n o s h o w s h o w


Show Summer 2020
Kolder, Ghent

ArtistsNanami Maeda &#124; Elisa Maenhout &#124; Jonas Beerts &#124; Sybren Janssens &#124; Robin Verslegers &#124; Cecile Broekaert &#124; Sander Misplon &#124; Indrė Svirplytė

	Following the cancelation of graduation shows for art students in June 2020, n o s h o w s h o w is an invitation to eight young artists from Ghent’s art schools, KASK and LUCA, to develop a solo presentation in the vitrine of artist-run space KOLDER. 

When doors are closed, windows and vitrines become stages for contactless interactions. During summer 2020, each artist imagined a specific installation for the vitrine space, in connection with a programmation of events. 

The proposals resulted in 8 one-week solo show, with diverse use of the space, through mediums such as performance, sculpture, photography, installation, painting or video.








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</description>
		
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	<item>
		<title>(un)broken</title>
				
		<link>https://curatedbymoss.com/un-broken</link>

		<pubDate>Fri, 24 Mar 2023 10:59:51 +0000</pubDate>

		<dc:creator>moss - curatorial collective</dc:creator>

		<guid isPermaLink="true">https://curatedbymoss.com/un-broken</guid>

		<description>
	(un)broken


Show 14 &#38;nbsp;- 31 January 2021
Zwarte Zaal, KASK School of Arts, Gent (BE)

ArtistsLennert De Lathauwer &#124; Hanne Grobet &#124; Leif Houllevigue &#124; Maia Liu &#124; Natacha de Mahieu &#124; Lukas Neven &#124; Kristof Thomas&#124; Lukas van Bentum &#124; Lisa Van Damme &#124; Reza Yavari 

︎&#38;nbsp;Check the visitor’s booklet

	(un)broken brings together recent work of ten young artists - photographers, image gatherers, visual thinkers. 


The challenge at hand is to produce an exhibition in the span of 5 days, a process that involves complex interpersonal negotiations and sudden changes of hearts.


Exhibition making is a game. To play is an action that takes place within certain spatial and temporal limits, between willing participants, following deliberate rules,&#38;nbsp;and outside the realm of what is materially useful and necessary. The environment of the game, as defined by Johan Huizinga in Homo Ludens, is one of rapture and&#38;nbsp;excitement, mystery and joy.


The unspoken rules are defined on the spot. They might change. They place the participants on an equal playing field and inform the collective process of making, shaping a space of shared authorship.


Playing is done for the sake of itself, regardless of what is useful and necessary, and the collective process carries more weight than the physical outcome. This might question the purpose of producing exhibitions, but not their essential value.


In this game that everybody plays with seriousness and rigor, we access spaces where rules are different from ordinary life, more permissive, more specific and codified. A space to explore which modes of working are sustainable. A space where it’s allowed to switch roles.



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	<item>
		<title>Etat transitoire</title>
				
		<link>https://curatedbymoss.com/Etat-transitoire</link>

		<pubDate>Fri, 24 Mar 2023 11:00:41 +0000</pubDate>

		<dc:creator>moss - curatorial collective</dc:creator>

		<guid isPermaLink="true">https://curatedbymoss.com/Etat-transitoire</guid>

		<description>
	État transitoire


Show 2021
Couvent des clarisses, Roubaix (FR)


ArtistPepa Ivanova

	A solo show by the artist Pepa Ivanova, État transitoire combines living sculptures of decaying pigments trapped in glass and still – frozen in porcelain – modular installations animated by a will to propagate and colonize the exhibition space. In this display spores are the indivisible, smallest unit to measure the passing of time – the ticking hands of fungal clocks – and time itself becomes a malleable substance to be harvested, collected, inhaled.


Pepa Ivanova is an interdisciplinary artist and researcher based in Brussels. She is a HISK, Ghent Laureate (2017), and she holds an Advanced Master in Arts from LUCA, Brussels, and MA in Sculpture at the Royal Academy, Antwerp after studying Porcelain and Glass design in the National Art Academy, Sofia. Fascinated by how to materialize temporality, she constructs decaying installations at the crossing of art and science.






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	<item>
		<title>Toxic Relationships</title>
				
		<link>https://curatedbymoss.com/Toxic-Relationships</link>

		<pubDate>Fri, 24 Mar 2023 10:55:25 +0000</pubDate>

		<dc:creator>moss - curatorial collective</dc:creator>

		<guid isPermaLink="true">https://curatedbymoss.com/Toxic-Relationships</guid>

		<description>
	Toxic RelationshipsVisual Essay2022Online, PALM Magazine - Jeu de Paume

Artists
Alice Pallot &#124; Lucas Leffler &#124; Matthieu Gafsou &#124; Kristof&#38;nbsp;Vrancken &#124; Elena Aya Bundurakis&#38;nbsp;

	Combining image portfolio, text and extracts from&#38;nbsp;conversations with the artists, this illustrated essay written&#38;nbsp;for PALM, the online magazine of the Jeu de Paume, deals&#38;nbsp;with the way the living and its representations adapt and&#38;nbsp;mutate when in contact with toxic elements.


Incorporating these mutations in the photographic materials themselves, or using the photographic camera as an haptic rather than optical device, they merge&#38;nbsp;the boundaries between image, vegetal, animal and&#38;nbsp;landscape. The toxins, naturally present or induced by&#38;nbsp;mankind, become a departure point for defining new&#38;nbsp;relationships. These works are above all a testimony to the&#38;nbsp;strength of resilience and survival within these intoxicated&#38;nbsp;forms of life - and of the artist’s will to look endlessly for&#38;nbsp;ways of representations that take these contaminants into&#38;nbsp;account.
Read the article on PALM :
︎ English
︎ French





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