ideen badezimmer gardinen

you will haveto reckon with us to make theclaims register and your rights inthe area progress. and we count on you! when he saw the picture yesterday,he told me it was amazing! i finally see mypicture for the first time because thereare many details you do not often seeon a thing like that, it is like a painting

moreover, it is like an american shot. and the firefighters... ...just before it collapses. it is bruno devoghel... you wonï¿½t have graffiti. no, i donï¿½t think so. and then, well, weï¿½ll see. jacques charlierï¿½s choice of taking thispicture of bruno devoghel

is a great citizenship approach because it shows that acitizen came in tribute, to stick a rose onthis installation and therefore we areright about the understanding we want to create betweenthe passer-by and the work. you know when themedia plunge on an event, we saw it with haiti, we saw it with earthquakeshere and there, there is a hugeemotional shock

but it lasts avery short time and people who aremediatized at that time are left alonebecause it all disappears in a kind ofdepths of despair. playing onthe memory, playing on thememory of an event charlier is reinventingthe concept of monument. this ambitious event brings together cities andmore particularly their city hall

that is to say whatis both the nearest and most sacred in a democracy: that is to say,the home of everybody. the selectionwas made by an artistic commissioner:jacques charlier. he has been proposed because inthe field of contemporary art, charlier is familiarwith actual art, including contemporary art.so he has criteria,

and he made a selectionin agreement with us. i liked the waycharlier actually chose this panel of artists asthere are artists who are used to this kindof work. and othersnot at all. this is goingto be great! each artist reallydoes something very precise in relationshipwith the town hall. it is every timesomething different.

carte blanche! it was the goal of the game. in a city. and do you have a link? it is very strong! compared to a disaster ... here, yes, butthings change! it is based on theidentity of the city. for example, for me, it is thelocal handicraft, tourism ...

we had to show achaotic experience, admittedly, chaotic,with its faults, lots of faults andvery few qualities but i think the final result will also show this chasm that exists between the broader public and the microenvironment of art, called today avant-garde.

emilio lopez! hello! he is making something pretty incredible. a bubble man. a kind of huge bubble. he is a man of my size, a bit like a table football player and a huge bubblecomes out of his mouth but in 3d.

he stands therewithout speaking he leavesspace for others in any case a spaceof interpretation. thereï¿½ll be something thatdisrupts the everyday life and if the work isactivated or interactivated, i think at leastthere will be a debate people will be able to say:"yes, but what is it?" i donï¿½t know. there will be some sort ofmeeting point between people,

that is what i hope for. the policemengave their opinion. they wondered why it had to beput in front of their police station as we are currentlyexperiencing a wave of taggers and they were concernedto see this bubble arrive and be the sign for thosewho want to give a message. we immediatelychose this space the cityhall. when people come here,it is the first thing they see.

well, they will alsosee the bubble man, this expression of a civicmessage oriented towards the place where the key decisions forthe life of a city are made. i invite you to speak freely on this bubble which is currently empty. bravo! allowed here, revocationof driving licence

here! i donï¿½t have jacquesï¿½ itï¿½s hardï¿½! it is a very, verybeautiful experience. i worked with the city workers and they were great. they brought this bubbleman in the pouring rain, i also had tomake some retouching because the paintwas beginning to leak!

it was not dry! mind the bubble ... (my office is in front of it!) here, we are not at all in the show, we are light years away from that, in places where one would not expect to see contemporary art. there are some citieswhere there is a habit of it:

in flï¿½malle, there is acontemporary art center and we realize thatit is of importance. in eupen it is the same. on the other hand,in waremme, the mayor said at the time of the opening ofemilio lopez mencheroï¿½s work: "you know, here,there is nothing!" what is nice is thateveryoneï¿½s expression can be put on itwithout any worries because three quartersof the people in waremme

will be able toread what happens, people are fed upand all the rest, in some respectsit is good. there are texts thatare really interesting this is not theusual graffiti but there are some too, fine in preparation, before the firstopening took place, it is oneyear of work

and the idea goes backto one year and a half. and also the idea ofdoing a project ... because it'sdifferent again. a project, it is tryingto think about everything. do you want to see thepictures of the bubble man? everybody cangive his opinion. i like the artists. it is nice. it is harder to read:"blessed are the clear hearts,

they will findlove in all things." donï¿½t chicken out! it seems that thepolice removed some that they found alittle offensive ... luc navet: didyou find a seat? do you havea good seat? i am fine. come on, it isalready one thing done! "aux arts, etc." mightbe an artistic approach

not finding aseat and being late! it is a real performance atthe belgian television (rtbf)! a really impressiveperformance. it's crazy! well, earlier we talkedabout one of the 16 steps of "aux arts,etc.": welkenraedt. another work: thatof nicolas kosakis, a man who loves the shapes,all the shapes ... yes, but here it isa particular shape

since he collectedsignatures, so he proposedto the whole staff to give himtheir signature. there are about hundredof them and he will choose the one that seems tobe the most interesting from the aesthetic point of view.it will be reproduced under the form of a neonhanging on the front of the city hall. awesome! theowner of the signature will be then allowed totake the neon back home?

that has notbeen discussed. it seems simple, but it wasearly to start talking about success because some considerthat their signature is very personal andsomething you donï¿½t easily give. we will find out who isthe author of the signature only on 10th septemberat the opening. ... and you will see itat the town hall in eupen, installation of theartist nicolas kosakis. it is from 11thseptember to 19th december?

you are notgoing to tell me that you can onlysee a signature! one couldhave thought that the criteriawere aesthetic and then, there werevery calligraphic signatures frankly as beautifulas tags and more but i think that beingable to give someoneï¿½s name would have beeneven more effective therefore, no matterthe calligraphic quality,

the recognition of the wordand of the name of the person, its readability, seemedto me much more effective and brought a supply of identity: the place was underlined by a name. we will see. donï¿½t you think so? i think that mr.kosakisï¿½ idea was to involvepeople who work and who spend a significantpart of their lives

in the city hall and thatthey had the opportunity to collaborate to his artwork. we had a lot of signatures of people who work here. someone was chosen, perhaps a man, perhaps a woman, i donï¿½t know! maybe, it isnot the mayorï¿½s. it is sure that it isnot that of the mayor

but he launches achallenge for discussion: "what is importantin our lives?" does a workerï¿½s have the same value asthat of a mayor, for example. at this moment,nobody knows the winner of thesignatures contest who will be revealedin a small show during the opening. is it going totake place there?

it is going to take placein the big hall, of course! and we will askeveryone to come in ... yes, donï¿½t worry: here atthe local authority control, everything isprogrammed in details. are you alright? i, born on 28thjune 1957 in eupen, deceased on 17th january2012 at 10:35 in nepeu. it is one of the cleaningladies who has been chosen and she runs the whole thing

it is really a situation where she is everywhere. she is really everywhere and she is sometimesthe most anonymous. i'm happy tostand back from that. you are the only one whocan give this explanation and i think itis so important we have here ayoung woman interested who is wondering whatis happening behind.

this is alsowhy events such as "aux arts, etc." are interesting because theyï¿½meetï¿½ people and, perhaps, this willgive the desire to go further. the media werereally designed according to a relationshipbetween anyone but not for anything. letï¿½s be clear, call the free number

clac, where is the number? how am i going to insertthe french and german number 0 800... a sound that has absolutelynothing to do with it! 0 800 11 340 are we going to try tonormalize it according to maryï¿½s voice? no, to give ita correct sound, i have to tryagain in a room. this explains alittle bit the background

and tries to arousethe spontaneous calls. this is the call to citizens, we tell them thatthey can call this number and for which purpose. there are eight of them,is it possible? we are going tolisten to them. i was scaredbecause i thought that the loudspeakerswere working. it is the last one.

if it works, otherwisewe start over. i thought it wouldbe easier by phone but it is less easy. yes i think that sarah hasthe instructions for use. i was the culturecouncillor for six years, in charge of thecreation of the art centre but it was not easy because we were just finishedwith the local association concept use of premises andmoreover an art centre

with its obligations, the decree,the french-speaking community, the obligation to welcome,to create, and that is fine, so it was not easy. today, everybody hasunderstood and found his/her place in our art center and allthis has enriched the city. i cannot find the message. but i recorded eight of them! i donï¿½t want to enter this kind of debate but i am utterly convinced that if we need

fewer policemen,that we have less crime, fewer social problems it is also a consequenceof this policy. it means enablingeveryone to express themselves, and to find what he/sheis looking for in a city. little test to see if thephone number is displayed. is it the sevenththat you have there? the last one,the eighth. jacques charlier, artisticcommissioner of the event,

chose the artist fromliï¿½ge antoine van impe for welkenraedt.antoine focuses his work on the media and thecommunication techniques. in welkenraedtï¿½ is it fine? ... every day, a municipalemployee will take down the new messages andwill broadcast them. that is why we arewaiting for your messages in all the languages

but especially inthe three languages spoken in the area: french, germanand dialect. a young student,probably in welkenraedt, who calls to say that hewas kept in after school, that it is unfairand that he needs help. i am kept in afterschool, help me... i think he callsfrom his classroom because he whispers inorder not to be noticed!

we laughed a lotduring the report, the messages in thestreet are very funny. if, for example, wedonï¿½t live in the province and we want tosee these works, what canwe turn to? that was my question!who is it for? because art lovers willmaybe drive many kilometers but will those who livein the city necessarily go to the neighbouringcity to do the tour,

can we go onthe internet? you can go to theneighbouring cities, if you want tohear other messages, it is true that itis probably intended for the people inwelkenraedt, eupen, vielsalm, spa, etc. you just goon the internet see where ittakes place and take your bikeor your horse ...

this made us laugh,i think we will go ... all these peoplemove very little. there is nobodyfrom the area of liï¿½ge. we realize thattaking the car to go to an opening,itï¿½s a real expedition! this projectcomes in the city and in what is the mostrepresentative of a city: the town hall. a place wherepeople sometimes meet

because they live indifferent places of the city, they lose sight of each other,they see each other again and then above all, i feel that itbecomes a reference point, a kind of stability point. the basis of the commonideal is to be able to support each other, it is actually the town hall. i think that thecitizen should remember that this townhall belongs to him.

it is a way to reduce thedistance between the administration which canseem inhuman and the fact ofbelonging to a place can define itselfthrough many administrativeprocedures. so the "ruede l'amazone" is a street thatdoesnï¿½t exist in ans but which can exist,and in any other city, which is a very poeticevocation of somewhere else.

we are preparing the show that will be performed by marion and ismael. marion will be on theroof of the building. there will be some evocationsin relationship with the theme. it is accompaniedby an original music created from pre-recordedand live sounds. i think it willbe very beautiful! but it is notrendered literally.

here you have a perspectivethanks to the decline of the size of the trees andthen thanks to the global movement with which weworked on the front. that gives you animpression of depth. when the background changes,the tree appears ... you can put it inrelationship with the others. the town hall is themost symbolic place and the mostsymbolic place both of the powerat the local level

as well as, asthe word suggests, this ï¿½town hallï¿½, is the place wherenormally each citizen each inhabitant of the city,can feel at home and go to make some administrative steps and meethis elected representatives. you are stealing my view! sorry ... to put 200 pairs ofeyes for the neighbours!

thatï¿½s it! i am sorryï¿½ yes?... are you fine, nottoo claustrophobic? yes, a little but you can open thewindow in winter, it is fun! yes, i am fullof energy... are you? so it is goingto be difficult.

what i am doingto you is horrible. i wondered ifit would not be possible to putremovable panels, a small bar belowwhich makes weight. no, because the light will just pass through! it doesnï¿½t makethe desired effect. we wondered on whatit was going to stop but we didnï¿½t know itwas going to be projected

from here towards thewindows. we wondered if it was going to beprojected from the street. no! i am really sorry! well, i am going to ... no, you can stay therebecause it does not bother. each floor is a part of a body. the image was filmed in vertical and i cut it into three parts.

like this? ... like that and then more down like that. so, to your left. again. to my right! it is fine. there, it gets better .... see you later! do you have apiece of cardboard?

can i tear apiece of that? but i'll seriouslyconsider your curtains. so the initial idea, since we had to intervene on a city with a civic intervention, i told myself it would beinteresting to have a sociological panel of all the citizens of a place. i made a photomaton video which filmed all the people

who went to the town hall to give the image of a citizen who observes the town hall. as citizens, they have the right to see what their elected representatives do. yes, i see. -200 persons have been filmed! really! people played the game

but, like myself and like everyone, you are a little awkward. are you making a speech? i'll say a few words about the event then ronald willsay a few words. jacque louis nyst...ï¿½ he is so great! exactly three jacques! i have my sources,my culture anyway!

i see, i see, i hear ... well, ladies and gentlemen, it is with great pleasure and pride thatthe town of soumagne today welcomes the work made created by ronald dagonnier

the three floors arenot systematic? you vary. some peopleplayed the game, and bentdown to see. how do youfix the frame? this, it isduring the shooting. i put a smallmonitor control and when theysee themselves, they see wherethey are in the hall. afterwards, during the editing,i began to move them

so they aremore or less right. with a mechanism that isconnected to a harness. every time you climb on it, it starts to record and once you go down, it is cut. i'm sorry, but we work a little with technicians who ... ... it is difficult. no, this is not simple at all.

right, well, it is very nice, see you later, thank you. today, we will remove the upper part of the ï¿½perronï¿½. therefore, the stem here. this is what wecall the ï¿½perronï¿½. it was not easy tomake people accept the fact that we weregoing to remove the ï¿½perronï¿½, especially for asymbolical reason.

but when i explained thatthere would be a miniature ï¿½perronï¿½ in the snow globe, then there, they agreed. this ï¿½perronï¿½ is originally the place where courtdecisions were made public and it has been usedfor a long time as pillory where convictedpersons were exposed but it is also the expressionof these municipal freedoms. leave it as it was.

it was high time! - itwas high time to remove it! be careful: therose remained there. we will sell them for 1 euro. my children are goingto sell them tonight. they will participate, they were so patient. i have been inspa for a week almost non-stopevery evenings. i found more interestingto add cards

with the snow globe what do you think,mister houssa? good. that's very good,really good. donï¿½t you find the postcardwith the price a bit ugly? we are perhaps notobliged to put it ... big aesthetic problemat the last minute. no, i think it's ugly! yes, it's better like that, honestly! this is how we worked,

by climbing donï¿½t fall! so we removed it and icopied it in miniature inside, such as theglobes for tourists ... we often see a smallmonument in miniature. but here it isthe same monument, which is in miniature. here, the ï¿½perronï¿½ is missing. we removed it.

and was it easily removed? i donï¿½t know, but ithink it's really cheeky to remove such a symbol! who wants some cards,only one euro! marion: shout! very loud! who wants somecards for only one euro? you can come in. if you want, we giveyou 50 of them then?

no please! i would like a card,donï¿½t you have any more? it is one euro. did your mum takethe pictures, marion? it is 8 euros. who wants one-euro cards? the work done by sophie is really interesting, appropriating the ï¿½perronï¿½

which is an important symbol for all the citizens from spa. the project "aux arts, etc." was for me an invitation to think as an artist aboutthe concept of civic action and i revisited theï¿½jolitï¿½sï¿½ in a special way by transforming the ï¿½perronï¿½, into a lovely snow globeand a tourist souvenir. for me, these are pasticheswhich no longer convince many people and eventually give a corny

and obsolete image to any civic action. say what you would like to say ... i'm glad that mum has finished this work because she was busy with her computer or anything else and i'm glad she finished so,i can ask her to do things with me! darling! straight ahead! as i wanted towork on the long nose,

i used this mask to put an invitation for themeeting in the mask itself. as carnival was approaching, i felt it was necessary to participate. very quickly,the idea of a meeting with the people frommalmï¿½dy imposed itself. in the traditional long nose maskslike any other traditional masks, they donï¿½t know their origin,they donï¿½t know where they come from. somehow my maskis an addition to

the question of meaning: "who are you?" "who are you?" the long nose, the mask, and the person behind it. in malmï¿½dy, it was painted chrome, to remind the mirror. whereas here it is the opposite: as if you had printed thelong nose mask upside down. they will have to put on anotherpersonality when they enter their head in the mask.

it is a very big job,i realize it, i see that it is impossibleto finalize the whole thing even with the helpof luc who was there. so, the exhibition isnot completely finished ... it is in progress ... but no, you will finish tomorrow! come and see! there's a small movie. this is not a joke: you can go!

i think we need a vision ofan artist who is outside this. a person from malmï¿½dy willnot dare to make comments, artistically extrapolateregarding a person whereas from the outside,with an artist like mister pereira, it was interesting to know his interpretation of the mask. it was very rich. because the long nose putshimself behind to imitate, but being face to face

it was the role reversal. seeing oneself live wasdisturbing and amazing and, it was really successful. visually there are 14 panels where i mixed up thepictures i made in duisburg with the pictures i took here in seraing. i tried to create a confusion: i recorded everything in a notebook. there are lots of notes

and pictures i took during the locations, there are archives which serve as reserve fund. i read a few books to learn more about the history of social movements. here i have postcards of 1903. i took pictures of the same views in 2010. i asked myself the question:"where is the progress?" this is it!

there is a lot of noise and too little roomleft for transport. this is the project iproposed to "aux arts etc." so there are 14 panels,among which three with text where i ask some questions: "what is the plan for the future?ï¿½ "what do we want to do?" there are some for whichi hesitated a long time. these ones, for example.

but this was notrepresentative enough they were whisked away. here is the selection on the basis of whichi worked on my panels. photography willbe highlighted today thanks to the talentof a young photographer who offers us a mix of what he saw in duisburg, germany and here in seraing.

the journey beginswith the first panel. then, the journey continues freely here in the street brialmont and the site of thefuture administrative city, place kuborn. automatically,it gets more beautiful. people stop by,look, talk, comment. so we gain in citizenship,conviviality and we are very happy.

on 14th july, we had a storm here. there were strong windswhich tore off all the panels. i donï¿½t know if this is just the wind. i donï¿½t know if there was damage. in any case, there is nota single poster anymore! there are no graffiti anywhere. so the assumptionthat people from seraing donï¿½t respect the public space or certain initiatives is not confirmed!

they didnï¿½t hold, so ittook some force to remove them. i think it's a nice metaphor: a billboard on a proposal from seraing behind a wasteland ... nothing on nothing ... maybe we have not followed it enough. it is perhaps our role. if he really needed to be closer.

that is perhaps part of our job. what happened is what we have seen that the selected artists and who agreed to play the game, most of the time, are used to work in the art microcosm with the small things that can satisfy a micro-environment.

if there are things which were weaker than others, it is for these reasons. i think it was positive too. there was a call to all craftsmen making sweets in visï¿½ four stood out. the aim of theproject is to highlight chocolate-makers, pastry cooks

and bakers it will be quite a show. this is what we need! is it really cake inside? it is a real surprise! the base is not. doesnï¿½t it keep? yes, the base keeps yes, but you donï¿½t eat this?

do you eat this? yes, you eat all the rest. tonight we willdecorate it with blown sugar to put on the top, and pulled sugar in order to beautify and dress it. the horns of plenty are in nougatine with macaroons coming out. the artist tries tocreate something by himself. the craftsman too, but the artist will

maybe have a more original note if the craftsman wants toearn his living with his works, he must take into account profitability. as far as the artist is concerned, he creates something and it is unique. what i prefer is to create. the least attractive side is the production and it is daily grind

and dï¿½jï¿½-vu because this is a series ofchocolates that we must produce so that everyone can taste them and have some for oneself. we are flirting withphilosophy and sociology, there is an integrationof different disciplines and the artist begins toask himself/herself questions and to return them to the society. so it is a function that is actually

other than that of having as goal an object. the goal is to maintainit at a certain temperature and put a satin finish on it. by giving a satin finish to it,it will get shiny and that's when we'llbe able to work on it. here, mr. streibel isthe ice-cream man hugo, letï¿½s talk about his work: the basic ingredient is meringue,

drawn in dark chocolatewith fresh fruit coulis: strawberry, kiwi... it's great, it's very beautiful, really. here, it is mr. jean-pierre who makes blown sugar. it is a very beautiful technique which looks like porcelain. he is doing it, iï¿½m discovering it.

a goose! we will try to move on here is the chocolate-maker mr. bernard schonmacker who is setting up his work. he is creating a tiered cake. once again, i donï¿½t know the theme. it is also a surprise! it is a project that we initiated at the culture department

of the province of liï¿½ge the aim is to try to meet publics at the level of visualï¿½ arts i wondered how to create the link between the town hall and the citizens, to respond to the concept of "aux arts etc.".

the link, i saw it very quickly in my head, because i saw a subliminal image: i saw a city hall upside down on a plate with a small dessert spoon. in summary, the link between the city hall and its citizens is just a matter of digestion for me. it is the only project where the artist did nothing! where the artist did nothing, indeed! exactlyï¿½

i asked the question to mr. navet, because everyone asks me what the artist did. she gave the impulse and the desire to create. he explained to me that all great artists such as victor hugo and others too, did not always create themselves their work: someone worked for them.

sylvie gives the ideas and we realize what she asks while having the experience of assembling the structure and make it stand up and that the weldings do not hide the work. it is true that you sometimes propose things that we could do. it is true that it would be totally possible.

it would be wise or logical. aesthetically, it's not always ... but even plastically it does not correspond to what i really wantï¿½ so, it is not ok. they are welded. they were given a shape. we heated the branch with a blowlamp

and then folded it on an anvil. i discovered among this clutter, a basis of an old park bench which had a vegetal shape and so we used this part to get the stock of the rosebush. it is especially thevisibility that must be correct, it shouldnï¿½t weigh a ton, it must be aesthetically beautiful.

it is another goal. i draw them then i cut them out of a copper sheet which is quite thick and difficult to cut and then, with the hammer, i crush the metal and i hammer it so that it reflects the light differently. the steel structure is masculine. adding flowers and curvesis a feminine contribution.

it is a combination of both. that structure, it is the part that builds us and i think we need it. but we also needwhat is more sensitive. the roses are there, compared with this notion of marriage and especially thequestion of secrecy as the work refers toall the hidden loves.

for me, politically, it alsoraises the question of the pacs, the issue of gay marriageand therefore, society issues which are very important while we're in front of a work which would rather be romantic,sentimental ... so the readingscan lead us very far. i am not the bride! working in huyon this project which obviouslyfocuses on the rose,

synonymous withlove and we said marriage was really important you can be a bit surprised that there is only one rosebush when it comes tolove and marriage but two rosebusheswere originally planned. i realized that there was a union, and one was left out of the two

that's why there's only one. i think that when the union is interior and deep, the traces of disagreements are almost no longer evident. beautiful message! let's say it was very beautiful, very aesthetic.like sylvieï¿½s rosebush. and it's also symbolical.

it is not only aesthetic,it is also symbolical. but this is not the time to express feedbackon the works. because it requires thatwe have seen everything and we havetaken a distance. our job is tocollect the feeling of the local peopleregarding a particular work because that is also the project: coming up withcontemporary art in places

where it is not used to be. but to show the way that isleft to mess up the artistic world,which through its localism, gets accustomed tosatisfy itself with small things inside a micro-environment that we can always defend with flannel to ensure that we go into raptures. i paint on quilts.

i paint snow. this is a portrait. two portraits. this is within the frameworkof 16 cities and 16 artists that the city of engiswelcomes captain longchamps. this is anattack on the city which will be an interactionbetween the residents and the city the symbol of the attackis the bomb that is set on the front of the town hall,

and a vehicle that is armed which simulates an attack. letï¿½s put it like that. there? donï¿½t you want usto cover the windscreen? no, that's just fine. it is snow! there! snowflakes. the bomb normallyexplodes in 100 days.

it is filled with ï¿½snow explosiveï¿½ which is a terrible explosive. every time someone sends a message saying: "i donï¿½t agree", "i agree", or any other message, there is a one-day delay only 99 days, 98, 97 ... if there are 100 messages,

the bomb will not explode. we'll see what happens, it is the interaction that will make the work evolve. of course, this is abit more problematic because we never know. these are little public notices placed around the work of captain to encourage people

to come and say "for" or "against" the town. i think there are two goals. the first one,regardless of the artwork or of the event,is to summon the people regarding theirlocal council and the local publiclife and see how they react. most important,make them react. it touched me greatlythat people reinvent

their local government. that's why i want to blow it up. we blow it up andpeople reinvent it. they make a new town hall and it is much better like that! make a beautifulpicture with the mayor. a beautiful picture. here it is! what are you going to do? it was part of theterms and conditions,

we had to work in relationshipwith the door of town hall, so the gun is directedtoward the door, and it is part of the human rights to be allowed to blow up the town hall ... if the citizens donï¿½t express themselves! i think we should change things and i want to ask citizens: "what should we change?ï¿½ï¿½ better access,

faster services, more interesting things ... the more messages, the less likely it is that the bomb explodes,otherwise everything is finished, we blow everything up. it is finished! let's finish! we tend to focus and to try to explain everything while the artist does things

because he finds it beautiful,because he wants to. it is an expression of afeeling or something else. peopleï¿½s attentionis difficult to grab because they are alwaystrying to find a meaning, a message in what is done. i think that it is what makesany cultural result difficult. today, with our globalization we can be everywhereat the same time. artists travel a lot,

one moment, they areon another continent, they have assistants, they do not doeverything themselves. today, we need a big production, you must be a managerat the same time, you must have many qualities to succeed in doing something. the context "belgium"does not play there. everyone has theopportunity in belgium

to make a trip to the usa or elsewhere to work there. at the beginning, it will be difficult. they are confronted to the world in every possible and imaginable ways. they are overloaded with information. at that level, nothing will be forgiven: "you know, there's a guy in new york who does the same as you!

didnï¿½t you know?" it is terrible for an artist to find him/herself confronted to open-minded issues of that kind. we are going to sewthem progressively and put them on the pallet. we split into teams. some put the plastic bags into jute bags,

others sew. when we get ahead and the wooden structure is ready, we will begin the installation. it is a door which highlights this place of transition and intermediary between the citizens and the town hall. mind your feet!

people ask whether there will be an air attack but there are also peoplewho think about the flooding. it is fine because sandbags donï¿½t only evoke the war but the flooding and the front. some wonder if wehad not already entered a phase of waror retrenchment compared to one ofthe neighbouring areas.

therefore, it alsorequires an explanation which is not always easy since we donï¿½t necessarilyhave to explain a work or say what it represents or why it was made but the aim is rather that we feel it in one way or another. that's the approach,i think, which is interesting in this type of projecttaking place in the street.

because today people no longer understand art. it is always ahead ofthe general understanding. are the soldiers going to arrive? it is a quiet strength, nothing really happens. you see, that's the symbol of a front.- what does that mean? then, we must think and ask oneself: "why bags, why a barricade

near a town hall?", and it must generatesome thoughts ... there, there reallyis a questioning that i had raised wheni had made the trick: to know who is protecting who,how a town hall ... to what extend it protects itself or it protects the citizen? how is it perceived by the citizen? alain!

a journalist! only one journalist andeverything is repopulated! yes. hello. we feel at once bigger and stronger! moreover, a cultural journalist! what an honour! it exactly matches up to his project. and there, above?

above, it is the straw. you donï¿½t see the difference! no, even us ... it is just like on your project. it is a great idea ... still a challenge ... because i think it'snever easy to combine public art, politicsand citizenship, some too often limit

the artistic expression toa scale of aesthetic value which reduces itself totheir own vision of beauty. the same thus forget the most importantthing of the artistï¿½s work: giving a view of theworld that questions ours, referring us to our representations and to the meaning thatwe give to what we see beyond the beauty orthe politically correct.

from the moment a work creates a kind of questioning at the same time aesthetic,political and psychological well, that's not bad! because it becomes a thinking theme and at that point, maybe one might say that art can be useful and that it is not only architectural decoration.

i copy what he drew. there are no explanations. we put what we want.we take what we want. there is simply avariation of the verb "to be" three times, with a set of letters, which shows other words. i think that's encouraging people to think, regardless of their conclusions.

it is a culture of reflection, it is important notto give any explanation because there isno explanation. pol pierart, the artist,has an explanation, i, as a mayor,i have another one, and no doubt thateveryone has a different one. that is what makes therichness of an artwork: it is that there are noinstructions or explanation. what have you written?i have not seen.

a variation of the verb "to be" the word "to be" and a set of letters which shows, first, the word "to come in" then, the word "to spread" finally, the word "to hear" and the meeting of both. i exactly traced the text,

as good as possible so that we see the work through the work of the engraving. we immediately wanted something that would be perennial, "forever" some will say i will not get into the explanation because as pierremossoux often explained to me, you shouldnï¿½t

you have to live them,to feel them. but there areactually many messages which are inducedin the artwork with respect towhat should be a city with respect to itsrelationship with the citizens to everyday life,to the registry office, etc. we also talkedabout ï¿½to hearï¿½ so we are also inconcepts of democracy of citizenship, so itabsolutely suited us

and really,thank you very much! be careful,donï¿½t walk on it! it wears out! you have to take the trouble to understand art. like a good novel: the writer, in hispresent state, now writes in a certain way and it is not alwayseasy to understand him,

it is sometimeseven boring to read him but there are things inwhich you need patience, you need thestrength to continue to understand or to follow. you must be involved there. we are going to lift it. but you should liftit higher than that. we lift it higher andpascale removes the pallet. ok for you, guy?

donï¿½t force. slide it, i pull. didier, go there, we will shift on the car. and then afterwards you put this. i only got the permission on tuesday! with this you can put ties. woodscrews for above, here they are! and the screwing machine, where is it?

mr. de clerck, the councillor tells you that he doesnï¿½t want to speak on the podium. the speeches will thereforetake place as originally planned that is to say on thefirst floor of the library. yes, right, right. i have heard. listen. can you phone back in 5 minutes?

i am going to phone tosee if the podium is insured and for the rest, we'll discuss it later. phone me back in five minutes. i will ask it immediately. we'll go over there,next to the thing, we will put theengines above, and try to stabilizethem a bit then we'll put thebig vertical claddings so this, this willbe a little trickier

and afterwards itmust hold in the air. a gust of wind shouldnï¿½t a bit. a little bit. with the logo of thearab league in it, you see. iï¿½m wondering. i hesitate betweentwo palestinian flags: if i put a new flag or not. we will put the standard.

we will put the other one afterwards. this is the wrong canvas sheet! move it! i was wrong. cut that, that's not the good one!we made a mistake. shit. these are the 1967 borders. east jerusalem,capital city of palestine. international law. peace.

not the absolutefascism on both sides. the zionist fascists who take the mapof their country in a 5ooo-year-old book. which gives the radicalismon the muslim side, or even islamism. islamism againstthe zionist fascism: this is good, this isthe future of the world! then, the un has inventedthe alliance of civilizations

but these politicalbastards donï¿½t do anything. no one to savethe whole thing! it will be ok. no one wonï¿½t you have chosena global theme, a theme of international politics which, if not managedat a local level, is a problem on which all citizenshave their attention drawn

and which deservesto be reminded. the theme chosenby you mr. de clerck is that of the need fora fair and lasting peace in the middle east and we're right in the news. later, we'll go on the podium we will shake hands and the micro-currentthat flows through us will create a mechanical relay

will raise the two flags. it is really the handshake which makes the current flow between the two persons, the two brothers whoare on the same planet, raise the flags. do we go up? shake hands. what about you, donï¿½t

what i had proposed to them, is that they formulate a request, that i understand it and then all i can do, is forwarding therequest to the authorities who are capable of doing it. but the story they are talking about will really be the big problem. the youth centre!

yes, because the policeare surprised that we are hanging about in thestreet late at night. that we are doing stupid things, but we donï¿½t haveanything else to do. here, there is nothing at all. old people say we do not need thelocal young people they are useless! we are the youth,

so if they say that, we will be full of rage, so we will do stupid things, we'll hang about, we'll break windows, destroy cars, we will steal! they too were young! that was the same for them. we want to do everythingpossible to change but they donï¿½t understand. they put us all the time into a mess

and they keep criticizing young people. what i would like is to produce works that astonish. so we have to work. with some kind of discipline. in fact, discipline ...that means in the proper way. it was complete,it had beautiful windows, then, it was destroyedseveral times. i thought: well,they tear off the material,

i'll see into what it turns. my idea was to accept that the material removedfrom the horse-drawn caravan it was as if it became this mechanism of the sculpture where you remove material to make a face appearor i donï¿½t know what but every time ireplace it with emptiness this worthless thing,

ruined, stabbed with a brutality, a cruelty that affected me. five minutes later, exhausted, i made artist plans to get rid of fascism, this man who, for a moment, could have supported frontist theories, vlaams blok, etc. i'm here with a threadbare caravan,

drawn by six donkeys to turn it into a school, a school for a second chance, in the mouth of the first one. a school where we all learnto live with a second chance, a school in which we all have a central place the center of the square,old people, young people, these ones, those ones.

this is a schoolwhere we are all teachers and students each for another. a school drawn by sixdonkeys on the benches of which we somehow study the highly sensitive matter, highly secret of the other, that is to say the future. i got invited in two stages: first, the persons of the town council

came to my office, it was the caravan and we went to the town council to take pictures of them "at the meeting of culture and natureï¿½. i had told you, at the previous council, that during this session of late september, there would be a particular event.

indeed, the presence of an artist who for some days now has occupied our town square and put his caravan. i asked them to open a bit the collars, to open a bit the sleeves so that we can see under the suit. ideally, a town council must also be a reflection of the population.

therefore, that the local councilors individually donï¿½t all have a priority on the cultural sector, in itself, this is not illogical. police: police budget. another ten minutes andthen i leave you alone. no, no worries: the more theyare absent-minded, the better! go on! who is for?

have you counted, madamthe chief executive? - 29. who is against? that's perfect! i think that many people donï¿½t need art. these are only thecurious people who need art, those who want to progress,researchers, creators, scientists, people who want more

than what they have for the time being. for them, art is good. the others, they also live like that. i see around me, there are people who make a fortune: they donï¿½t need art, they are happy!