Southern Oak City Daily News, 2024
When Liselore Vandeput was about 10 years old, she created for herself an imaginary world as an attempt to combine her love for magic and the ambitions she had to become a professional skateboarder, minister of education or journalist. With this last ambition in mind, she made several attempts to create a newspaper, but without any success.
As an adult, Liselore tries to reconnect to the limitless imagination of that time. Though the immersive experience of childhood is no longer there, she now has the tools to finish the projects she once started. The newspaper gives you small amounts of information on what was important to her as a child. Southern Oak City Daily News is an invitation to imagine your own version of the world presented to you while going through the pages.
When Liselore Vandeput was about 10 years old, she created for herself an imaginary world as an attempt to combine her love for magic and the ambitions she had to become a professional skateboarder, minister of education or journalist. With this last ambition in mind, she made several attempts to create a newspaper, but without any success.
As an adult, Liselore tries to reconnect to the limitless imagination of that time. Though the immersive experience of childhood is no longer there, she now has the tools to finish the projects she once started. The newspaper gives you small amounts of information on what was important to her as a child. Southern Oak City Daily News is an invitation to imagine your own version of the world presented to you while going through the pages.
Imaginary Yellow: Retracing Childhood (10/04-20/04/2024)
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To Marie / Aan marie
2021 - in progress
Series of A5 papers in plastic sleaves with paper tape and 120 pelargoniums
On 10 July 2021, I received the most extraordinary birthday present I could have imagined. At midnight, my housemate handed me a plant and told me very proudly that it was the plant of the mother of Jef Geys. After the initial shock of owning a plant that had passed through the hands of an artist who has so far been very important to my own artistic practice, Jef Geys, I started thinking about Geys' mother and registering her plant. Curious where it might take me, I followed the plant's example.
Spending a lot of time on the plant and its naming created a series of questions about the status of women, the position of the plant in our culture and society, its link to social class or nature, and what the right name for it might be. The project tells a story about an ordinary plant and ordinary people. How does a collective memory cause miscommunication? And what happens if it does not matter what your real name is if others call you differently?
The project will continue to grow as long as the plant lives.
The project contains a series of A5 plastic covers with images, text, photocopies and screenshots of conversations. This form of presentation refers to the work of Jef Geys, his archiving and presentation of collections, drawings, notes and work through the years. It is connected to the glass window by paper tape and numbered from left to right.
2021 - in progress
Series of A5 papers in plastic sleaves with paper tape and 120 pelargoniums
On 10 July 2021, I received the most extraordinary birthday present I could have imagined. At midnight, my housemate handed me a plant and told me very proudly that it was the plant of the mother of Jef Geys. After the initial shock of owning a plant that had passed through the hands of an artist who has so far been very important to my own artistic practice, Jef Geys, I started thinking about Geys' mother and registering her plant. Curious where it might take me, I followed the plant's example.
Spending a lot of time on the plant and its naming created a series of questions about the status of women, the position of the plant in our culture and society, its link to social class or nature, and what the right name for it might be. The project tells a story about an ordinary plant and ordinary people. How does a collective memory cause miscommunication? And what happens if it does not matter what your real name is if others call you differently?
The project will continue to grow as long as the plant lives.
The project contains a series of A5 plastic covers with images, text, photocopies and screenshots of conversations. This form of presentation refers to the work of Jef Geys, his archiving and presentation of collections, drawings, notes and work through the years. It is connected to the glass window by paper tape and numbered from left to right.
AAC#12, Liège, 08.06-31.08.2023 ![]()
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© Gerald Micheels
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© Gerald Micheels © Gerald Micheels
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© Gerald Micheels
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Vitrine Raad Vlaamse Gemeenschapscommisie, July - August 2022
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Frist draft Exhibition REMENISCENCES, GC De Zeyp.
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© Gerald Micheels 
Vitrine Raad Vlaamse Gemeenschapscommisie, July - August 2022
Frist draft Exhibition REMENISCENCES, GC De Zeyp.
The Artist Travel Agency
2023 - in progress
Installation (wood, two computers, lightbox, red vests, nametags, paper, drawings, 3 plastic plants, postcards, framed documents)
https://theartisttravelagency.tumblr.com/
The Artist Travel Agency is a performative installation delving into the artist's work-life dynamics. Originating from the artist's introspection on sustainability in art, it tackles the systemic issue of overwork among artists. This interactive environment serves as a research hub, probing the artist economy and balance between work and leisure.
Through data collection and tangible offerings like discount tickets for leisure activities, the installation spotlights the blurred lines between work and free time. It aims to bridge the artistic and social realms, shedding light on artists' need for equitable access to support services often overlooked. This approach not only addresses personal sustainability but also aims to prompt a broader societal conversation about the well-being of artists. The Artist Travel Agency acts as a catalyst for reevaluating societal perceptions of artistic work, advocating for better recognition of artists' needs within larger support structures.
Exhibition: On And Off The Clock
On and Off the Clock is an exhibition project which functions as a set, in which performative actions take place. These actions are diverse; some are discreet and apathetic, while others are affirmed by gestures and words which invoke, under these multiple designations, our cultural rituals.
Inga Gerner Nielsen deploys some of the activities of " THiS INSTiTUTE ", a nomadic institute that she herself recently founded, while Liselore Vandeput dedicates part of the space to one of the first manifestations of a new project, " The Artist Travel Agency ". The first goes in search of situations conducive to her work, the other questions the conditions of leisure. The two artists thus cross their common interests as they question the borders of their practice: a myth, a taboo, a social claim, where does it start, at which moment of the day does it end and according to which criteria, does it ever stop? What is the impact of the contractual framework on the creation, what is the impact of its absence, how to trace the modalities of conversion, which value takes the utility ? Is it a necessity, what to sacrifice, and why, in the name of the creation, … ? Questions that they formulate on a background of malicious misunderstandings, of fertile duplicity. Together and individually, they let themselves be, carried by the desires and the paradoxes that constrain them and thus take advantage of the intimate and political conditions that determine the economy of artistic practices. Having in common the ancestral symbolic institutions of proximity, both scrutinize the meshes and the escapes of an immateriality that are those of art and of life.
" THiS INSTiTUTE ", by Inga Gerner Nielsen, is thus less a place than a space-time of reinforcement of the attentions which she initiates and closes according to conditions judged appropriate, in a concern of collective maintenance tinged with cheerful activism. The stake of this practice is thus characterized by a relational approach which is established with the audiences of its performances, and through systems of addresses conceived specifically for the various social contexts, to induce sensitive modalities of the thought. Her starting scenarios take various forms, such as sessions inspired by methods of picture analysis from iconology, or trekking sessions in the vast Scandinavian expanses. Inga's work is in fact infused with the tools of self-analysis regarding the powers and formations of symbolic imaginaries, which lead her to question the heritage of her Protestant culture, both in its manifest dimensions from urban perspectives, to its most latent expressions in the depths of her aesthetic sensibilities. Through her research, she has come to probe the apparitions of singularly feminine figures and postures to note the permanent hand-to-hand reconciliations, notably the decisive influence that motherhood has had on her practice as an artist, while fearing the essentialist leanings of a complementarity of these roles.
Between the dedication as a social worker and the socio-political commitments of the artist, Liselore Vandeput perceives the risks of a dispersion of the self. This is why she has imagined, not without irony, " The Artist Travel Agency ", a project that allows her to speculate on the causes of a non-place and to consider the problematic absurdity of the productivity of free time and the precarious situation of the art workers in cultural capitalism. For the first public activation of this research destined to grow in the coming months, the fictitious and nevertheless functional travel agency is exposed by a series of elements articulated around this double workstation ; an information desk and a reservation desk, which will be sometimes taken in charge either by the artist or by two performers. A series of attributes will reinforce the mimetic aspirations of the service company.
Proposed as a scenario format that is as open as it is sensitive to the influence of context, On and Off the Clock is also an archive in progress that feeds on the dialogues between the artists and their installations over the course of the exhibition.
Pauline Hatzigeorgiou
2023 - in progress
Installation (wood, two computers, lightbox, red vests, nametags, paper, drawings, 3 plastic plants, postcards, framed documents)
https://theartisttravelagency.tumblr.com/
The Artist Travel Agency is a performative installation delving into the artist's work-life dynamics. Originating from the artist's introspection on sustainability in art, it tackles the systemic issue of overwork among artists. This interactive environment serves as a research hub, probing the artist economy and balance between work and leisure.
Through data collection and tangible offerings like discount tickets for leisure activities, the installation spotlights the blurred lines between work and free time. It aims to bridge the artistic and social realms, shedding light on artists' need for equitable access to support services often overlooked. This approach not only addresses personal sustainability but also aims to prompt a broader societal conversation about the well-being of artists. The Artist Travel Agency acts as a catalyst for reevaluating societal perceptions of artistic work, advocating for better recognition of artists' needs within larger support structures.
Exhibition: On And Off The Clock
On and Off the Clock is an exhibition project which functions as a set, in which performative actions take place. These actions are diverse; some are discreet and apathetic, while others are affirmed by gestures and words which invoke, under these multiple designations, our cultural rituals.
Inga Gerner Nielsen deploys some of the activities of " THiS INSTiTUTE ", a nomadic institute that she herself recently founded, while Liselore Vandeput dedicates part of the space to one of the first manifestations of a new project, " The Artist Travel Agency ". The first goes in search of situations conducive to her work, the other questions the conditions of leisure. The two artists thus cross their common interests as they question the borders of their practice: a myth, a taboo, a social claim, where does it start, at which moment of the day does it end and according to which criteria, does it ever stop? What is the impact of the contractual framework on the creation, what is the impact of its absence, how to trace the modalities of conversion, which value takes the utility ? Is it a necessity, what to sacrifice, and why, in the name of the creation, … ? Questions that they formulate on a background of malicious misunderstandings, of fertile duplicity. Together and individually, they let themselves be, carried by the desires and the paradoxes that constrain them and thus take advantage of the intimate and political conditions that determine the economy of artistic practices. Having in common the ancestral symbolic institutions of proximity, both scrutinize the meshes and the escapes of an immateriality that are those of art and of life.
" THiS INSTiTUTE ", by Inga Gerner Nielsen, is thus less a place than a space-time of reinforcement of the attentions which she initiates and closes according to conditions judged appropriate, in a concern of collective maintenance tinged with cheerful activism. The stake of this practice is thus characterized by a relational approach which is established with the audiences of its performances, and through systems of addresses conceived specifically for the various social contexts, to induce sensitive modalities of the thought. Her starting scenarios take various forms, such as sessions inspired by methods of picture analysis from iconology, or trekking sessions in the vast Scandinavian expanses. Inga's work is in fact infused with the tools of self-analysis regarding the powers and formations of symbolic imaginaries, which lead her to question the heritage of her Protestant culture, both in its manifest dimensions from urban perspectives, to its most latent expressions in the depths of her aesthetic sensibilities. Through her research, she has come to probe the apparitions of singularly feminine figures and postures to note the permanent hand-to-hand reconciliations, notably the decisive influence that motherhood has had on her practice as an artist, while fearing the essentialist leanings of a complementarity of these roles.
Between the dedication as a social worker and the socio-political commitments of the artist, Liselore Vandeput perceives the risks of a dispersion of the self. This is why she has imagined, not without irony, " The Artist Travel Agency ", a project that allows her to speculate on the causes of a non-place and to consider the problematic absurdity of the productivity of free time and the precarious situation of the art workers in cultural capitalism. For the first public activation of this research destined to grow in the coming months, the fictitious and nevertheless functional travel agency is exposed by a series of elements articulated around this double workstation ; an information desk and a reservation desk, which will be sometimes taken in charge either by the artist or by two performers. A series of attributes will reinforce the mimetic aspirations of the service company.
Proposed as a scenario format that is as open as it is sensitive to the influence of context, On and Off the Clock is also an archive in progress that feeds on the dialogues between the artists and their installations over the course of the exhibition.
Pauline Hatzigeorgiou
Residency The Green Corridor (January 2024)
Exhibition: On And Off The Clock (December 2022)
(c) Silvia Cappellari
Tea Ceremony
2022
Performace, reading session in English, French and Dutch
For two years, Liselore Vandeput and a group of women from Peterbos have been meeting every Tuesday. They have been talking about various topics and by June 2022 created the project À Ma Chère Arrière Arrière Petite Fille together. Every single one of these meetings has started with tea and something sweet. It is the opening ritual to create a space of sharing and connection.
For the end event of the Artis in Society Award, Liselore wrote a letter to the eleven participants who were part of the project À Ma Chère Arrière Arrière Petite Fille. A reflective letter from her point of view on the project about the process, her personal experience, doubts and memories. How she left the project brought the group closer together and how she wants to keep on sharing her artistic practice with the women. Translated into French, Dutch and English the letters were read to the audience after sharing tea and cake.
2022
Performace, reading session in English, French and Dutch
For two years, Liselore Vandeput and a group of women from Peterbos have been meeting every Tuesday. They have been talking about various topics and by June 2022 created the project À Ma Chère Arrière Arrière Petite Fille together. Every single one of these meetings has started with tea and something sweet. It is the opening ritual to create a space of sharing and connection.
For the end event of the Artis in Society Award, Liselore wrote a letter to the eleven participants who were part of the project À Ma Chère Arrière Arrière Petite Fille. A reflective letter from her point of view on the project about the process, her personal experience, doubts and memories. How she left the project brought the group closer together and how she wants to keep on sharing her artistic practice with the women. Translated into French, Dutch and English the letters were read to the audience after sharing tea and cake.
© Ernst Maréchal
© Ernst Maréchal
© Ernst Maréchal
© Ernst Maréchal
© Ernst Maréchal
©Aziza François
À Ma Chère Arrière Arrière Petite Fille
2022
Digital space: http://arrierepetitefille.motherline.be/
With Malika Benchama, Fatiha Benomar, Nabiha Bousehabi, Yamina Charrak, Farida El Bannani, Aicha El Kahak, Aouatif Lamarti, Hsina Masrour, Malika Raouf, Meriem Turchi and Zohra Zlima & Liselore Vandeput
In collaboration with the women group of Femma Quartier Peterbos, Liselore Vandeput invites the stories of mothers and grandmothers into her motherline building. Together they search, map and connect individual stories of mothers and grandmothers into a digital space to address an imaginary future generation. The women participating in this project hold a specific position in their surroundings. They might be the last generation to recollect narratives of heritage, culture, language and migration. They form bridges between past and future and hold the answers to questions that might be being proposed long after they are gone.
The motherline building is an ongoing project in which Liselore Vandeput maps and re-creates stories of her female family history. Every space in the building is dedicated to a different generation in her female line. For this project Liselore opens up the room, representing her story to exhibit the stories of the women she works with at Peterbos.
In colaboration with Aziza François and Sina Seifee
2022
Digital space: http://arrierepetitefille.motherline.be/
With Malika Benchama, Fatiha Benomar, Nabiha Bousehabi, Yamina Charrak, Farida El Bannani, Aicha El Kahak, Aouatif Lamarti, Hsina Masrour, Malika Raouf, Meriem Turchi and Zohra Zlima & Liselore Vandeput
In collaboration with the women group of Femma Quartier Peterbos, Liselore Vandeput invites the stories of mothers and grandmothers into her motherline building. Together they search, map and connect individual stories of mothers and grandmothers into a digital space to address an imaginary future generation. The women participating in this project hold a specific position in their surroundings. They might be the last generation to recollect narratives of heritage, culture, language and migration. They form bridges between past and future and hold the answers to questions that might be being proposed long after they are gone.
The motherline building is an ongoing project in which Liselore Vandeput maps and re-creates stories of her female family history. Every space in the building is dedicated to a different generation in her female line. For this project Liselore opens up the room, representing her story to exhibit the stories of the women she works with at Peterbos.
In colaboration with Aziza François and Sina Seifee
Project launch, SB34 - The Pool June 28th 2022
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© Meriem Saissi © Meriem Saissi
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