This encyclopedia offers a splendid and wildly recommendable insight in the world of Croxhapox, combining trivial pursuit and serious matter. The entries have been mostly written in Dutch but quite a few have been translated. If you want the Dutch original, change your choice of language and go to the 'encyclopedie'.

A | B | C | D | E | F | G | H | I | J | K | L | M | N | O | P | Q | R | S | T | U | V | W | X | Y | Z

2006. Basics 2, sequel. A group project in Abdij Maagdedale.
2007. crox 227, French-Belgian project. The Moroccan artist - living in France - presents a video film.

Badebukse, alias Vincent D'hondt, composes the score for 'Kan jeg fotografere med blitz?' (2005), a photo project from Johan De Wilde. More or less 350 photos of the banks of the Akserselva, the river running through Oslo city centre. Badebukse's score emphasises the filmic character. The full name is Trist von Vantett-Badebukse, later amicalement reduced to Badebukse. Vantett-Badebukse happens to mean wet swimming trunks.
-->Oslo -->Akerselva

crox 70 (1997). Participates in Schilderkunst Hedendaags Belgisch.

crox 84 (1998). Solo project. Paintings.

crox 110
(2003), Basics 1 (drawings, sketches, studies). Group project with works from 25 artists. Bart Baele contributes half a dozen drawings and a text in typoscript. 

crox 166
(Feb-March 2006), finnisage of the solo project by Nicolas >Leus.
Wim De Waegeneer and a.o. Bart Baele give a lecture.

crox 145-II, Basics 2 (sequel/ April 2006).

- review in a regional edition of a local newspaper (October 1998). Region Sint-Amandsberg/Gontrode. "If I would know it all, I wouldn't be painting" says Bart Baele. "For me, painting is a quest, although I don't know precisely what for." This young artist exhibits his paintings in Croxhapox, a handsome space in Aannemersstraat in Sint-Amandsberg./ Bart
Baele resided in Wetteren for many years and there gained a name as a popular card and performer, someone who has no problem animating the locals. That image of village fool  stands in sharp contrast to the dead serious artist Bart Baele./ "Perhaps one compensates the other" says he. "My artistic work is serious business, and I want to be recognised as a genuine artist. Painting is an intensive and continuous activity. Sometimes people seem to forget it is." GONTRODE It is blatantly obvious that his recent move to Gontrode has been a source of inspiration.  Baele first and foremost paints what he sees in his immediate environment: the house in Gontrode, the garden, views from the neighbourhood. "I found a very appropriate spot to paint in Gontrode: even the local neighbourhood offers a lot of views, and there is an attractive absence of noise. That is very important to me."/ The artist's work isn't purely figurative though. "There is no easy way to categorize my work," he says. "I start from some kind of representation but soon I move to more abstract levels." Perhaps this is why Baele's works keep intriuging and why they carry a hint of mystery. We think his works differ stylistically, but the artist disagrees. "All of this is me." BIDON The paintings effortlessly fit into Croxhapox' spaces,  The green landscapes and the country life scenes dominating the paintings tie up naturally with the balcony overlooking the patio: an organic continuity. / Bart Baele's former cycling-mania has all but disappeared. Cycling, though, was a prominent theme in his works a few months ago. No doubt because Baele was the co-founder of Bidon, the amateur cycling federation of Wetteren. "A wild bunch of weirdos who like to go cycling", he said. Apparently, that time is over. Baele symbolically created a distance: against a dark background, a cyclist we can only see the back of so to speak rides out of the canvas. Originally this work should have been included in the exhibition but it  didn't make the final selection. This too makes Bart Baele an artist to follow: who knows what the next exhibition will offer?" (P.B.)

crox 245 (2008). Installation window.
crox 256 (2008). Two solo projects in one room: Johan Gelper and Steven Baelen.
At about the same time they are nominated for the Provinciale Prijs Oost-Vlaanderen 2008 [Award of the Province of East Flanders].

2011. crox 364, Les enfants de l'eau. Performance.

1996, Open Deuren. Location 4, Aannemersstraat 175. Sarabande pour une femme. LB takes option (a), own works.

Finishes a Master in Beeld & Installatie [Image and Installation] in 2013-2014 at the School of Arts, Ghent, Kask. Internship in Autumn 2012 till June 2014 in croxhapox where he is charged with documentation and archive. Author of two crox-productions.

crox 445, POV, Realities Revisited Part Three, 5 & 6 July 2013. A short production, before leaving for Iran, focussing on video and film. Iranian artists video-makers: Moreshin Allahyari, Arash Fayez, Arash Fesharaki, Omid Hashemi, Nassrin Nasser, Anahita Norouzi and Bahar Samadi. Also a documentary dy Kiumars Derambakhsh, The Eclipse. Coprodructie of Parkingallery and the Iranian Moweex Archive.
Starts the Asayeshgah Project in Kerman, Iran, a contemporary arts space. A second crox production follows in 2014 crox 459, Breath From A Warm Locale, again with Parkingallery Projects. Although he has studied at the School of Arts the previous year, he gets denied a visa; not in Tehran but in Brussels. Jelle Clarisse coordinates the project with works by Tala Madani, Zarin Salahi, Negar Farajiani, Jafar Sadeghi, Hooman Alizadeh, Arash Khakpour, Arash Radkia & Arash Khosronejad, Anahita Hekmat, Pooya Razi, Arash Mobarrez & Ramin Rahimi, Sona Safael-Sooreh, Saman Khosravi, Shilan Borhani, Bahar Samadi, Amirali Mohebbinejad, Tara Najd Ahmadi and Shahram Entekhabi.

Bains Connective (Brussel) participates in Zennestraat 17 rue Senne (2009). Bains Connective is located on the second floor, right above Croxhapox. In the second half of the year, Ilse Ermen is there in residence, a.o.

2009. crox 289-5. TVF art doc cinema, The Theatre Compilation. Film documents of Hated Nightfall (1995) and Ursula (1998). Also in he series are summaries of productions by a.o. Peter Brooks, Patrice Chereau, Silviu Purcarete and Jacob Schokking.

Editeur van Anoniem eerste helft 21ste eeuw, crox-boek nr 17, 2013. www.hetbalanseer.be

1997. crox 65, Tomo-Savic Gecan. Een werk in situ in het souterrain van Aannemersstraat 54. Sjoerd Paridaen introduceert Savic-Gecan. Het wordt een project in het kader van Vurige Tongen. Hoofdlocatie van het project is de kerk aan het Sint-Pietersplein. Savic-Gecan gebruikt beide locaties, de Sint-Pieterskerk en het souterrain van croxhapox. De presentatie in de kerk verwijst naar die in het souterrain en vice versa. In het souterrain brengt hij een muurhoge glazen wand aan tussen het voorste en achterste deel van de ruimte.
crox 66, Slaven Tolj. Schrattenberg Periferie. Een instalraam met in situ presentaties van Apsolutno en Slaven Tolj.

2007. crox 227, een groepsproject met presentaties van West-Vlaamse en Noordfranse kunstenaars. Luk Berghe is net terug uit Albanië, waar hij z'n zoon, die Biologie studeert, heeft geholpen met het lokaliseren en bestuderen van tarantulas. De presentatie in de corridor is een beeldverslag van deze felbewogen episode. Het lokaliseren van de spinachtige was overigens niet zo moeilijk, onder elke kei bleek er een te zitten.
Later verneem ik dat Berghe junior maar liefst twee nieuwe soorten ontdekte. Omdat hij zich daar zelf niet mee kon of wenste bezig te houden, werden ze genoemd naar de Gentse professor die hij als mentor had. Of: naar mij genoemd (strakke blik, glimmende brilglazen) maar in praktijk door iemand anders ontdekt. Zouden ze daar een speciale uitgang voor hebben, in het Latijn?
crox 235, The F-Song. De Amerikaanse kunstenaar David Smithson woont in Keulen en verblijft net zo vaak in Kroatië, waar z'n echtgenote vandaan komt.

2010. crox 334, CHARACTERS MAKE STORIES, een project van Stijn Van Dorpe. Een van de kunstenaars is de Servische kunstenaar Assaf Gruber, die door Tatjana Pieters vertegenwoordigd wordt.


1. "Voor een banaan laat ik me wel verleiden" - motto of Art Machine (crox 1). The line comes from the poem Apikov (1989) by Hans Van Heirseele:

Voor een banaan laat ik me wel verleiden
als U vraagt: niet één die banaan lust?
Niet één met een apenstaart? Grist ie je pet.
Jok jok jok valt niet mee te praten.
Hou een stok bij de hand,
heeft ie weinig tegen in te brengen.
Al de eruditie die in het voorbeeld zit:
banaan is evidentie voor het apenhart.


By a banana seduced I let me be
when you ask: not one who loves bananas?
None with a monkey's tail? He grabs your cap.
Yick yick yick no way to talk to.
Keep a stick close at hand,
he's at a loss for a rebuttal.
All erudition is in the e.g.:
banana is obvious to the monkey's heart.

2. During the preparation phase of crox 211 (April 2007), a banana lingers on a table in crox2. The first day a fresh banana, the second day a spotted banana, the third day a banana peal. Dirk Zoete himself is the perpetrator of the deed. (see www.crox-box.blogspot.com).

3. Gill (April 2015) gets nuts on bananas.

3. Ape The Artist as pictured by Tuymans during a short interval backstage at the 2007 Friends of the Museum Jubilee Party.

4. 'But is it art?', a performance by Anna Banana (april 2009), renowned mail artist.

2009. crox 298, BUT IS IT ART? Performance project and workshopby Canadian mail art artist Anna Banana. Coördination: Frips and Marc Coene.
The project coincides with a European tour of Anna Banana. Just before the project in croxhapox Banana was in Italy where she broke her right hand wrist. In Ghent it becomes a lefthanded performance.
In the project fair trade bananas are used. The first action is a street performance. The second part, a workshop and a lecture, are taking place in the Thomsen space.

‘In Bangladesh well over half the population live on less than a dollar a day. That is, about 12% of a single sip’. Fragment from Toasting The World Food Crisis With A Bottle of Dom Perignon, a performance by Adam Geczy.
see Dom Perignon 
see Geczy


Het barmeubel, de kubusruimte en het beeldscherm boven de bar zijn een constructie van Adriaan Verwée. Voor zijn eerste crox-project, The Final Speech (september 2005), verbouwde hij de smalle en kleinste van beide ruimtes waarover we toen beschikking hadden. Net in die periode kwamen de corridor en de grote zaal achterin ter beschikking. De verbouwing van Adriaan bleef. Aanvankelijk was er discussie over het feit of de werken van Adriaan hoorden te blijven zoals hij ze ontworpen had. Het platform boven de kubusruimte werd gedurende enige tijd gebruikt als podium, maar zowel de trap als het barmeubel werden gauw smerig. In 2006 betegelden Pieter Degand en Laura van het barmeubel. Pieter wist hoe het moest, hij had het vaker gedaan. De kantoorruimte, een ontwerp van Joris Van der Borght, kwam er in 2007.

Tot 2006 werd met brouwers gewerkt of reden we naar de Colruyt, als we wat nodig hadden. In 2007 beslist Laura van om voor de drank met Melanie's World samen te gaan werken, de exotische nachtwinkel in 't Patershol. Dat zorgt voor een nieuwe drankkaart met Saison bier en Orval en geen Inbevproducten, wat een succesformule blijkt. Vanaf eind 2007 is er ook Martens Pils, een Limburgs product, wereldwijd verspreid maar in Vlaanderen zo goed als onbekend. Ze hebben het in Kameroen en Senegal, wereldwijd in 80 landen, je kan het overal drinken maar in Gent alleen in Croxhapox. Dat heeft met de marktstrategie van de producent te maken. Ze steken geen energie in het bekampen van het Inbevmonopolie, vernemen we. In Vlaanderen is Martens overigens de enige brouwer die ook een Saison bier op de markt brengt.
In 2008 worden Rochefort 10, tripel Karmeliet en bio groentensap aan de drankkaart toegevoegd.

De wijn varieert. We volgen het aanbod van Melanie's World. Eerst is er Père Guillot, een Côtes de Nîmes, wit en rood. Later stappen we over op Pago de Ados, wat tijdelijk aangevuld wordt met Pittacum, een robuuste rode wijn waarvoor ze de menciadruif gebruiken, een druif die het goed deed in de Middeleeuwen, daarna in onbruik raakte en op gegeven ogenblik zelfs bijna uitgestorven was. Het is een wijn met een diepe en lange nadronk.
Tegenwoordig serveren we Casa Maria, een tempranillo uit Sierra y Leon.

February 1999: solo project. Paintings. Tazro Niscino serves the opeing speech.
March 2008: duo project of Kati Barath and Oliver Schulze. Kati herself proposes to involve Oliver in the project.
croxcard 63

VZW Barbabelge is a Ghent initiative with a.o. Wouter Cox, Jozef Van Akoleyen and Peter De Duffeleer. Before the official opening, end 1994, there is a meeting in the garden atelier of Aannemersstraat 54. Barbabelge takes the street projects of Croxhapox as a model and creates a furore with a series of widely acclaimed street- and neighbourhood projects. There are Jardins d'Artistes in 1995, the Twon Hall-project in 1996 and De Zwaluwen Komen [The swallows are coming] in 1997. Though Barbabelge and Croxhapox are closely realted, a collaboration never materilises, even is there is some talk about it after Open Doors (1996). Both initiatives make sure Ghent experiences an unwitnessed hausse of alternative and concentrated exhibitions in the mid nineties: Croxhapox develops an idiosyncratis and supriseful exhibition policy, Barbabelge stage socio-cultural interventions which are the talk of the town and get a lot of attention in the media. 

End of the nineties, the initiative is broken up.  

1996, Open Deuren. Location 88. Installation and performance in the basement of Aannemersstraat 11.

2007. crox 186, 'What about Croxhapox'. Mail art call.

(1) 'French philosopher Roland Barthes, who was run over in the street in Paris quite out of the blue in 1980, wrote, 'Visiter un lieu, c'est de la sorte commencer à écrire: l'adresse n'étant pas écrite, il faut bien qu'elle fonde elle-même sa propre écriture.' ('To visit a place is thereby to begin it write it: the address not being written, it must establish its own writing.') Uit Native constructions or the artist and his alter ego, een van de teksten van Inge Braeckman voor Careful Dressage, crox-boek 19, een project van Dirk Zoete.

Context van het citaat: 'Not everything is predictable; while he creates, the shapes, lines, movements and planes come into being instinctively, without clearly traceable reasons. A good artist does not even know precisely how he creates. That does not change the fact this first requires a thorough grip on the materials and techniques, to have blindly absorbed them, in order to listen to the hand and the 'diktat' of the drawing in progress.' Waarop het citaat volgt. Op. cit. p.15-16.

(2) Les planches de l'Encyclopédie. > Neitsabes Dranoc

alias Tazro Niscino

1999, February. Speech at the opening of crox 91, a presentation by Heike Kati Barath.
2003. van succeeds in tracing TB. He contacts him and proposes to do a project in Gent. A letter of Tatsurou's arrives, 3 handwritten pages covered with project proposals. 
2004, December. They meet in Cologne, in the Artothek. The new plan is to use the Ghent Belfry as a location and to build a room around the dragon on top of the Belfry. Ninety meters high. He has been undertaking this kind of madness before. The plan is softly layed to rest. 
2005. S.M.A.K. produces a project by Tatsurou Bashi. Location is the Christ statue at Sint-Annaplein. Tatsurou has alternative proposals for a smaller crox-project and possibly also for a presentation in croxhapox. One of the proposals he advances is a kebab lightning rod. After some logistical research - and the realisation that TB doesn't even know how to build a kebab lightning rod, we gradually saw that we would have to do all the work ourselves - the project is softly layed to rest.

A series of projects
where the preliminary phases of the artwork are central. Browsing in the
kitchen of the artwork.
At first conceived as
a tryptich:  (1) drawings and sketches,
(2) three-dimensional works, (3) photography.

Basics 1, crox 110
(November-December 2003, Lucas Munichstraat). Review by Christel Lemmens (ZONE
09, December 2003): “CROXHAPOX SHOWS ART IN PROCESS BY 25 ARTISTS. Artworks
don’t fall out of a blue sky. Usually they haunt the artist before acquiring
their final form on paper, canvas or computer screen. A lot of experimenting happens
before that final form is reached. Usually, the audience has no access tot
these preparatory drawings, sketches, doodles, digital drawings, studies and

Croxhapox Galery, back
again on the Ghent art forum, and now housed in the Dampoort neigbourhood, has
been rummaging unashamedly in numerous artists’ workshops and returned with
some two hundred artworks in process. Together the are the first part of Basics,
an exhibition focusing on processes of thought and development.

In Basics 1 Croxhapox
presents in its own idiosyncratic way new or recent works on paper by 25 Belgian
artists. A cat couldn’t find its young in the intuitive hanging of the works but
luckily galery holder and artist Hans van Heirseele gives a full explanation. He
enthousiastically alks about the the numerous works by young artists: the studies
for the series Explosives by Pieter De Gand, the digital prints of Wouter De
Corte, the triptych Pinocchioschedel [Pinocchio skull] by Peter Lagast from
West Flanders Province, the fragile drawings of Carole Vanderlinden and the
Walloon artist who lives in Ghent Sylvie Duhamel, the studies by Michiel
Coppens, the stills from Evert Defrancq’s digital film and the brushpaintings
of Robin Vermeersch.

There are one or two
works each by more reknowned artists such as Philippe Vandenberg, Michaël
Borremans, Carlo Mistiaen, Dirk Zoete, Karel Dierickx, Mario De Brabandere and Ludwig
Van De Velde.

There are, for
example, two studies of a ship’s demolition by Frans Gentils.

Visitors can browse
through a book of charcoal drawings of Boston based wonende Jos Van Meerssche.
Johan De Wilde, who according to reports should be localised somewhere in the Lofoten
Islands, shows an intriguing pencil drawing on archival cardboard. And
furthermore there are works by Bart Baele, Merlyn Paridaen, Nicoline Van Stapele,
Pieter Vermeersch, Ruth Mentens, Thomas Lerooy and Thomas Broadbent* (USA). It
may be a jumble but at least it makes a lasting impression.”

Explosies instead of Explosives - Decorte instead of De Corte – by Mario De
Brabandere there are three works, five by Dirk Zoete - Thomas Broadbent forgot
to send in his contribution. Instead of his, two drawings by Xenia Borremans
(daughter of) were selected for the project.
That a cat couldn’t
find its young in the hanging (the hanging in Croxhapox is chaotic etc…) is a
very subjective interpretation of the show which was conceived as a print


Starting point for
the second edition of Basics is 3-dimensional work; focus again on thought and
work processes. For this project the team builds meters high shelves and racks.
All elements are presented on them.

53 artists
participate in the first edition of Basics 2 (crox 145-I, June-July 2005), more
or less than 90 participate in the sequel in Abdij Maagdendale (crox 145-II,
April-May 2006): Adriaan Verwée/ Alan
Smith (GB)/ Alda Snopek/ Ann Cannoot/ Annelies Slabbynck/ Anton Cotteleer/ Bart
Baele/ Bart Vandevijvere/ Bas Decaluwe/ Brahim Bachiri (MAR)/ CAMP/
CarianaCarianne (US)/ Christophe Engels/ David Bruneel/ DD Trans/ Dianna Frid
(CAN)/ Dirk Peers/ Dirk Zoete/ Doris Kuwert (D)/ Els Soetaert/ Emmanuelle
Flandre (F)/ Eva-Maria Bogaert/ Evert Defrancq/ Fia Cielen/ Frank Van Den
Berghe/ Gerd Ververs/ Guy Couckhuyt/ HAP/ Hedwig Brouckaert/ Hendrik Vermeulen/
Jamez Dabramski Dean/ Jan Dheedene/ Jan Wiels/ Jelle Clarysse/ Johan De Wit/ Johan
De Wilde/ Johan Parmentier/ Johan Van Roy/ Joris Van der Borght/ Juliane Heise
(D)/ Kaatje Lannoo/ Karien Vandekerkhove/ Kurt Duyck/ Leentje Vandenbussche/
Lieve D'hondt/

crox 244. Photo presentation in the cube (2008).

Concert, 13 January 2006. First night of the ARMEE LEGER project. Antwerp duo. One of the members of the AL-collective is at the drums. I can't remember who it was. I do remember who wasn't at the drums. Feyaerts wasn't. He stood on a ladder. Engels didn't. He held the ladder steady. Neither Decaluwe and Van Ham. Remains: Campaert. But that is something I'm not a 100% certain of. So, it was Decaluwe, maybe. Or Van Ham perhaps. Or Engels forgot what his job was. And was it Feyaerts who crashed into the drums, or am I mistaken?

Ada Van Hoorebeke, Eternal Hunting Grounds. Crox 325, 17 januari tot 14 februari 2010. Zaaltekst: 'Voor Eternal Hunting Grounds wordt de kubusruimte(1) in croxhapox een tijdelijke bel van eeuwigheid waarin kruikvormige figuurtjes op zoek gaan naar hun weggevloeide inhoud. Volgens Van Hoorebeke wordt een werk sterker als het verschillende fases van "omsmelten" doormaakt. Bijvoorbeeld, door haar ontwerpen naar Afrika op te sturen waar ze gebatikt worden. Zo ondergaat eenzelfde beeld verschillende stadia, waarbij materiaal, omgeving, techniek, de hand en interpretatie van de batikker een invloed hebben op het eindresultaat.
In de show Eternal Hunting Grounds gaat de reis door een landschap van batik tot Tingatinga en alle tekens die daar tussen liggen.' (tekst: AVH)

(1) Crox 325 werd niet in de kubus maar in de backspace gepresenteerd.

crox 59, solo project - February 1997. Paintings.

1999: responsible for the building up of the project of Wendy Hirschberg - April 1999.

Introduces Dianna Frid (1998-2006) who in turn introduces Larry Krone (1999) and later on CarianaCarianne (2004-2006).

De Gentse kunstenaar Pieter Bauters ligt mee aan de basis van het GM collectief, wat voor Gent en Marseille staat. Hij en Grégory Decock hadden elkaar in Marseille ontmoet. Er zijn weinig gegevens bekend over hoe het ging. Wel is het zo dat Grégory Decock, die sinds circa 2005 in Brussel woont, de chef fondateur van het collectief is en alle groepspresentaties en acties coördineert. Laura van wordt lid van het collectief in 2006, Yannick Franck in 2009.
In 2008 is er een eerste groepspresentatie in croxhapox, crox 280, samengesteld door Grégory Decock. Pieter Bauters neemt deel aan het project. De andere kunstenaars zijn Nicolas Durand, Guillaume Escallier, Philippe Cardoen, Tim Onderbeke en Manor Grunewald.
Pieter Bauters presenteert een reeks modulaire werken.

--> Frips

2006. crox 177, BEELD VAN DE BUURT [IMAGE OF THE NEIGHBOURHOOD]. Project with video movies by pupils of the  Stedelijk Kunstinstituut [City Art Institute]. Concept and coordination: Winnie Bauwens. >Macharius