In our vision art is a part of everyday life in which an artist shares his or her mind space. A group show is not just a way to bridge the summer off-season and a way to show and sell as much art as possible but a chance for different works of art and also artists to meet and find a dialogue. For us the idea of artists moving continuously in their own separate fantasy worlds is worrying, they should exchange ideas and collaborate on views on how to move on in life and enhance its spatiality. We like to dream and sometimes hate the reality of artworks but we love them at the same time because they open us up. Viewing art makes you realize you are alive.
Performance by GTB and Nadège Piton (soundtrack by Baraclough)
Opening SI/CO on 27/03/10 at 19h00 Nadège Piton, accompanied by The Lampshade Is Not A Past Tense by Baraclough, had to find her way through Wallgallery’s vernissage crowd towards the facade. She was dressed in ‘foulards’ by Sico Carlier in a fashion by Geerten Ten Bosch that unabled her to see. When she reached the windows she started covering them in buttermilk, crisscrossing the room. The more the view faded the more she undressed and after a good part of an hour Nadège was naked as she covered the last windows. When the view finally was gone the performance ended.
Les Bandistas, garde rapprochée aux talents multiples…nottament par sa capacité à garder la tête haute, hors de l’eau, en plein marasme économique…()…Sico Carlier, un artiste d’origine hollandais à la pointe des derniers innovations.
Quotidien le Monde, Paris, 2008
Dont les confins sont ailleurs, où ce qui nous guide est la composition, la surimpression, la bribe. Etonnamment, c’est un sentiment d’unité qui se dégage du magazine et presque la difficulté d’y pénétrer. La direction artistique, tenue par Sico Carlier avec Change is Good à Paris, assure une lisibilité et une cohésion qui font que Currency ne ressemble à aucun autre.
Editor in Chief Angelo Cirimile, Magazine #33, Paris, 2006
Pretty confusing in an amusing way…witty, not to mention the fresh visuals…I believe this is an act of a self assured criminal.
Art-Director Hideki Nakajima, Esquire Japan, 2004
Of interest are several Dutch artists seldom seen in New York…()…Another is Sico Carlier, whose witty text pieces appear throughout the gallery.
Influenza ‘s works could fill a whole book. Jeroen Jongeleen continually discovers new ways to enter public space: sticker and graffiti-like actions counter the standardized and commercialized inner-city space with subtle interventions. Under the label ‘Influenza’ -referring to its potential effect as uninvited distortion of the common, creating an alias for the maker at the same time- Jongeleen continuously develops new signs, figures and texts. He often refers directly to the hegemony of architectural structures and public displays of advertising and shifts or supplements their visual codes. The works of Influenza are not only an activist strategy, but also an examination of the possibilities of artistic expression in public space. On the 37th floor at Wallgallery, overlooking the City of Rotterdam from great highth, Jongeleen will present his latest set of details, as unleashed over the urban landscape of his hometown. In ‘Plastic Bags as Jolly Roger’ the city as vertical playground is celebrated. In his attempt to fight for a free panoramic view, plastic shopping bags found in the streets as litter, are adopted and fixed, before granted a more heroic second life on a newly found spot, high above streetlevel.
Influenza ‘s works could fill a whole book. Jeroen Jongeleen continually discovers new ways to enter public space: sticker and graffiti-like actions counter the standardized and commercialized inner-city space with subtle interventions. Under the label ‘Influenza’ -referring to its potential effect as uninvited distortion of the common, creating an alias for the maker at the same time- Jongeleen continuously develops new signs, figures and texts. He often refers directly to the hegemony of architectural structures and public displays of advertising and shifts or supplements their visual codes. The works of Influenza are not only an activist strategy, but also an examination of the possibilities of artistic expression in public space. On the 37th floor at Wallgallery, overlooking the City of Rotterdam from great highth, Jongeleen will present his latest set of details, as unleashed over the urban landscape of his hometown. In ‘Plastic Bags as Jolly Roger’ the city as vertical playground is celebrated. In his attempt to fight for a free panoramic view, plastic shopping bags found in the streets as litter, are adopted and fixed, before granted a more heroic second life on a newly found spot, high above streetlevel.
