encyclopedia

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'.

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Werkgroep van directie en leerkrachten van de Tekenakademie te Oudenaarde.

Nodigt Croxhapox VZW uit voor een sequel van BASICS 2 in Abdij Maagdendale (2006). Aan de tweede editie van dit project nemen 90 kunstenaars deel. De technische dienst van Stad Oudenaarde zorgt voor 13 exemplaren van de oorspronkelijke tentoonstellingsmodule, een stapelrek van circa 3m hoog met vijf stapelrekken van 240x60cm.
In 2007 volgt een tweede samenwerking tussen C.O.R.N.E.L.I.A. en Croxhapox VZW, VERZAMELWOEDE, opnieuw in het kader van Erfgoeddag. Ook dit keer zorgt de technische dienst van Stad Oudenaarde voor een krachttoer: op locatie in de bovenzaal van de abdij wordt een 50m lange tafel uit één stuk vervaardigd. Op die tafel komen de verzamelde verzamelingen terecht, werk van kunstenaars, privé-collecties en ook werk van leerlingen van de Tekenakdemie. >verzameling

Title of the work by Roger Raveel (crox 70: Schilderkunst Hedendaags Belgisch).

> Borremans

JOHN CAGE & FLUXUS, a project by Jonas Scheys i.c.w. students of Beeld & Installatie (Masters Kask), April 2008.
Works performed:
John Cage Songbooks - Sonata for clarinet - Sonata for two voices - Living room music - Five - Daughters of the lonesome isle - 4'33"
George Brecht For a drummer 5, 6 and 7 - Instruction - Incidental music 1, 2, 3 and 5 - Saxophone solo, fluxversion1
Robert Bozzi Choice 12
Emmet Williams Song of uncertain length
Godfried-Willem Raes E 10
La Monte Young Si fa#

Performers: Ruben Cooman, Thomas De Schepper, Lien Van Steendam, Liesl Stevens, Clara Vanden Bremt, Jonas Scheys
Students Beeld & Installatie (Kask): Hou Cien Cheng (Taiwan) /moving still/,
Twan Bastiaansen (NL) /mountain, or hope sleeps silently here &
toe, serenade#1/, Sarah Geirnaert /untitled/.

See Timetable april 2008.

ARMEE LEGER (crox 162-crox 163, January 2006). Collages. Also participates in the sequel of BASICS 2 in Abbey Maagdendale. With a small, modular and scenographic work this time: under a small stolp is a miniature figure; outside of the stolp is a second figure, a lady in a yellow dress; she waves at the figure under the stolp. The module has a built-in source of light. 

Adrian X, Robert. Interventie in de mediaruimte (2006). Woont in Wenen. Vader van de Britse kunstenaar Alan Smith.

Anna Banana. 'But is it art?' crox 298 (2009). Performance. Mail art.

Frid, Dianna. crox 77 (1998) en crox 184 (2006). Geboren in Mexico DF, woont in Chicago. Croxcard 33 (2006): Island.

Huebner, Ron. crox 111, Jewels by Huebner, een instalraam (2003). Overleed op 1 maart 2004 na een verkeersongeluk in het centrum van Amsterdam.

Nadja. Concert op 27 maart 2009. Gastproductie.

Komt voor het eerst naar croxhapox in 2011, voor een concert van Talibam!, die ze overigens eerder al in Roemenië aan het werk gezien had. Studeert aan School of Arts, Beeld & Installatie. Doet haar stage in croxhapox. Prospectie-assistente. Prospecties in Kortrijk, Antwerpen, Keulen, Sankt-Vith en nog wat plekken. Treedt begin 2012 aan in het crox-team als fotografe. Eind 2012 neemt Nima Bahrehmand heel even over. Vaste medewerkster, fotografie en documentatie, vanaf september 2013. Treedt begin 2014 toe tot de Algemene ledenvergadering.
2015, felgesmaakt project in de videoruimte, drie video shoots en een performance met Tom Prater en Holly Maries van Bristol Diving School.

crox 51, Open Deuren [Open Doors]. Location 53 (>Lauwaert, Beatrijs).

Venetian admiral, fifteenth or sixteenth century. Immortalised by Titian, stunning, a gorgeous portrait in red and dark shades, rose madder, carmine. van finds a reproduction of this work under one of the plane trees at Beverhoutplein, the square where about one year later croxhapox starts at number 7. He integrates the repro with the portrait of Vincenzo Cappello in the second solo presentation, crox 15, April 1991, right above the visitor's book and introduces, in the visitor's book, a sketch of the portrait of Cappello. some visitors too venture to sketch the protrait of Vincenzo Cappello.
Cappello, Vincenzo, is lacking in the Encyclopedia Brittanica where, by the way, is mentioned a lady, same epoch, same name, who poisoned her lover. Neither is he in Larousse. The reason is to be found in the short caption going with the reproduction. When Vincenzo Cappello was head of the Venetian fleet, they went down against the Turcs every time. They won not a single battle.

http://upload.wikimedia.org/wikipedia/commons/b/b9/Tizian_111.jpg

638 TITIAN * Vincenzo Cappello
National Gallery of Art
Titian was one of the most sought-after portraitists of his time; popes and and crowned heads eagerly commissioned his services. Emperor Charles V of the Holy Roman Empire knighted the artist and conferred on him the title of count.
Admiral Capello's portrait in gleaming armor calls to mind that in the 15th and early 16th centuries Venice was at the peak of the glory as a sea power, with colonies in Greece and Asia Minor. The baton identifies the commandor of the Venetian fleet, a rank Capello held five times. Although Titian shows the sea lord as a heroic and stalwart figure, the history of Capello's campaigns against the Turks is one of failure because of the intense jealousy of other Italian cities.
This painting was once attributed to Tintoretto.

Brazilian graffiti- & favela artist invited to Belgium by John Erbuer. His residence at KASK coincides with Europalia Brazilië (Atumn 2011). In early 2012 crox 397 follows. Carbonel has returned to Brazil and didn't, if I remember well, visit croxhapox. Crox 397 is a production of Chilean artist Marlène Elgueta Aguilera and Ruggero Pini, a young artist from Padua who studied  Multimedia at KASK. Coördination: John Erbuer. The crox-project consist of a remake of the - what again is the right word for the space limited by two-coloured plastic ribbons (red/white, yellow/black) -  constructed corridor. Just like everything else Carbonel makes very much improvised and with a complex-free contemporaneous blanco. Ruggero Pini shows a documentaire. He filmed  Carbonel during his KASK-residence. Carlos Alberto, a buddy of Carbonel, also shows some works. The project coincides with  solo presentations by Vincent de Roder and Frank & Robbert.

[Note of the translator: Carbonel stayed in the flat previously known as the crox residence, Jan Delvinlaan. He painted the inside door of his room and the door of the wardrobe. The paintings are still there.]

2008, crox 280. Een door Grégory Decock samengestelde en gecoördineerde presentatie met werk van kunstenaars die deel uitmaken van het GM-collectief. De Brusselse kunstenaar Philippe Cardoen voert een écriture automatique tekening uit op de houten tussenwand.

art machine. crox 3, April 1990. signpost. crox 17 , May 1991. crox
18, En Passant, Autumn 1991, location 11: Geldmunt 32. crox 24, Orbis
Pictus III, January 1995 . Added to the invitation: "ORBIS PICTUS/ DE WERELD IN BEELD GEBRACHT [ORBIS PICTUS/ THE WORLD DEPICTED]. Central to Edwin
Carels' work is the concept of viewing, the mechanism of representation and the relation between the viewer and the image, a world reduced to images./ In ORBIS PICTUS, a series of installations
also readable as diary fragments, Carels each time approaches the relation between the image and its subjective representation from a concrete viewpoint (a myth, a  poem)./ In this, the third installation it is a recovered glass photonegative. The space is discretely filled with reflections on media and the vulnerability of the image as a doubling of reality.
"Aux lieux des souvenirs..." Croxhapox #8: Croxhapox, a new start
(Dirk Pültau, De Gentenaar): "The basement of Aannemersstraat is
a nice place to stay. Edwin Carels, an artist who is also a writer (e.g. for the magazine 'De andere cinema') has wrapped almost the entire space. At the floor are packs of papers while ghostly newspaper pictures hang from the ceiling. A projector creates an image on a large glass: an enlarged image of a piece of skin stuck to the lens. Incredibly personal but at the same time very impersonal: the structure of the human skin simply creates a pattern on the plate, a pattern such as those of newspaper pictures which if searched closely only exists of dots. This installation straddles the border of a banal meaning (the newspaper photos) and the tangible loss of meaning (the projected skin). Because one really experiences the loss of meaning, the urge arises to go and look for it, to ask oneself what is said here -
while usually one simply passes by newspaper pictures and tv images. Carels' mise en scene sometimes is too emphatically explanatory, but it has quite a number of interesting elements piercing through." installation window #8 Tarkovski

Second solo project June-July 2006, Dwelling Field, synchronous with projects by Debra >Tolchinsky, Dianna Frid, Sarah >Westphal and >Jamez Dabramski Dean. Publication of crox-card 35 (Dwelling Field) and crox-book NR 3: Borders (ISBN 90-76593-O4-3). 

Crox-card 33 shows a still from the video Dwelling Field (2005); a litany of quotes.

Extract from Borders: Neither remembers the push nor the fall, except that the bridge receded into the horizon and, as we passed through the water crust, the sun, sounds, and the distant figures faded. More than anything else we remember that underneath the water nothing was sharp. 

Very quickly we found ourselves sitting on top of a large rock discussing death. Although we were young, we knew that we were filling with water and that we were dying. By all accounts we recall this new environment as quite pleasurable and as a consequence one of us wished to stay and die, while the other hoped to explore the land again. 

I was the one that wanted to stay. She asked me if her face looked pale. I told her it did not, although it did. She did not believe me and so she said nothing else. Without an answer I looked around some more. I was so amazed that everything was so quiet and soft death did not seem so awful or even finite for that matter. Gradually my eyes looked back at her. I had wanted to talk some more. But she began to rise. I panicked. Instantly I was frightened by my surroundings, I had never been without her. I was suffocating. I could not be without her. It was just one second, maybe two, that I grasped her ankle and rose to the surface to face the woman on the bridge. 

The last thing we remember is that the sun had faded, the air was cold and our lungs were filled with the Allegany River. (p. 38-40)/  

NOTARY PUBLIC. The following documents were included in the second crox project by CarianaCarianne, crox 182 (June-July 2006):

AFFIANT STATEMENT/ (regarding: terrorism)/ State of Illinois/ County of Cook. Article X: Prevention of Hostile Acts and Consequences Instead of defending a territory of soil or hoping to dress a street lane with my name, I walked the path that leads directly West. Out my front door, I began walking after the imagination of my heart all to dig a hole and bury the hand that has so much power to bear my sign. (this 27 day of August 2005)

AFFIANT STATEMENT/ (regards to: self-preservation)/ State of Illinois/ County of Cook. Article V, section 2: Jurisdiction and Biography I do not fully understand what it means to breathe - to draw air. I do not know exactly what it means to remember - to draw an image./ Regardless of what creates me, and rather BECAUSE of what creates me, I intend to battle my own preservation. (this 24 day of August 2005)

AFFIANT STATEMENT/ (regarding: biography)/ State of Illinois/ County of Cook/ Article V, section 1: Jurisdiction and Biography Walking to retrieve the mail from the carrier, my eyes saw. My eyes recorded something. I tried to be without need of situating such a thing. (this 24 day of August 2005)

AFFIANT STATEMENT/ (regards to: not governing another)/ State of Illinois/ County of Cook/ Article II, section 2, item a: Structure and Composition of Relational Authority My mind spins as plain-clothed realities rush in. It is within these moment that I uncontrollably struggle with the common car and the subsequent car pools, car accident and car jackings. I know that I am rational because I want to continue. I feel that I might find liberation for the body as it might reside in the uncontrollable spinning but I stop. Bound by one skin, I can not force her with my curiosity. I step back. I stop the loud voices and the ticking clocks. I slowly become anchored again and accept the auto industry as it clearly passes before my living room window. (this 24 day of August 2005)

AFFIANT STATEMENT/ (regarding: formulating individual politics)/ State of Illinois/ County of Cook/ Article VI, section 1, item b: Powers and Responsibilities I retrieved dental records from Dr. Bocks office. Since my birth was not recorded, the attached x-ray shall take the place of a birth certificate. With a jaw outstretched, this shall be the first image of my life and the last image that can confirm my death. (this 1 day of September 2005)

AFFIANT STATEMENT/ (regards to: volition)/ State of Illinois/ County of Cook/ Article II, section 3, item a: Structure and Composition of Relational Authority It was not so long ago that I sat down for broth made from sooks instead of opening the door and dying in the snow./ I remember sitting for hours with forearms resting on the wood, being still and taking small sips. Sitting there with my secrets, hands had circled my hollow shell, warming my back./ It was then that I know how to survive. I was then that I know how not to die. (this 1 day of September 2005)

AFFIANT STATEMENT/ (regarding: participation)/ State of Illinois/ County of Cook/ Article IV, section 1, item a: Withdrawal Peace records exist amidst war./ I stand here quietly waiting knowing that I am confronting my death. (this 8 day of September 2005)

AFFIANT STATEMENT/ (regarding: right to express frontiers)/ State of Illinois/ County of Cook/ Article VII: Human Rights and the Rule of Law With my finger extended into space, I drafted an image of myself. At most this line left no scar and, at least, the physical drawing lacked longevity for symbolic representation./ In accordance with the Universal Declaration of Human Rights, Article 19:/ Everyone has the right to freedom of opinion and espression; this right includes freedom to hold opinions without interference and to seek, receive and impart information and ideas through any media regardless of frontiers. (this 4 day of October 2005)


1. Voor En Passant (crox 18, herfst 1991) werkt Croxhapox samen met het Hasseltse Il Ventuno. Frank Hendrickx (artistieke directie van Il Ventuno) heeft carte blanche om 11 kunstenaars aan te brengen.

2. Persbericht CC Strombeek (2000): CARTE BLANCHE AAN CROXHAPOX. Het Cultureel Centrum geeft carte blanche aan één van de meest flamboyante alternatieve ruimtes van de afgelopen tien jaar. Onder impuls van Hans van Heirseele bracht Croxhapox een dynamiek op gang waarin vooral jonge kunstenaars een kans kregen zich meestal voor de eerste keer ernstig te kunnen profileren in de jungle van de kunstwereld. Croxhapox heeft dat standpunt ingenomen vanuit de overtuiging dat kunst uit zichzelf voldoende bestaansrecht put en niet gedegradeerd hoort te worden tot een wingebied voor materiële rijkdom en prestige, en in de hoop dat het hedendaagse kunstenaarsschap bevrijd kan worden van maatschappelijke en commerciële conventies en dictaten, waar het gedurende de laatste decennia in steeds grotere mate aan onderhevig is geweest. Croxhapox maakt nu een tentoonstelling in Strombeek met drie erg beloftevolle kunstenaars die op een eigenzinnige manier de tentoonstellingsruimte zullen bezetten en dynamiseren. ( ) Jan De Cock (1976) komt uit Brussel en viel onlangs op met een zeer grote installatie in de ruimte Argos in Brussel. Jan De Cock zal -zoals altijd trouwens- een speciale ingreep bedenken die nu nog geen definitieve vorm kreeg. Anton Cotteleer (1974) komt uit Antwerpen, maakt enigmatische sculpturen en studeert tegenwoordig nog aan het Hoger Instituut voor Schone Kunsten in Antwerpen. Cotteleer zal een selectie brengen uit recent werk waarin thematisch de mens en zijn/haar vervreemding centraal staan. Dirk Zoete (1972) is een Gents kunstenaar, studeerde vrije grafiek en bedenkt sculpturen en installaties waarin de humor en ironie een niet onbelangrijk aspect uitmaken. Ook van Dirk Zoete wordt een selectie werk verwacht die in dialoog zal gaan met het werk van de anderen. De tentoonstelling opent op vrijdag 18 februari om 19u00 hier traditiegetrouw met een performance en een optreden van Zeger Vandenbussche (alt sax) en Merlyn Paridaen (drums).
Die 18de februari stuurt Hans van Heirseele een fax naar CC Strombeek, vanuit Màlaga (ES), een fax met de openingsrede. Bedoeling is dat de openingsrede achtereenvolgens door Dirk Zoete, Sjoerd Paridaen, Jan De Cock en nog wat aanwezigen voorgelezen wordt. 

3. Tijdens BRAINBOX (2006) geeft de crox-directie carte blanche aan iedereen die in het project participeert, niet alleen de 18 kunstenaars van spoor 1, ook de personen die als waarnemer en commentator deelnemen aan spoor 2. Die bijna volledige vrijheid is ook een van de guidelines van de tweede editie (2008-2009).
Vanaf 2007 zijn er met enige regelmaat projecten waarop de term carte blanche net zo goed van toepassing is, gewild of ongewild.
Januari 2007: Five Collaborations van Alan Smith, die de als solo geplande presentatie uitbreidt door drie kunstenaars in het project te betrekken, Bart Maris, Rik Soenen, Mario De Brabandere, en met The 9/11 Party ook voluit kiest voor publieksparticipatie. 
April 2007: Onder de noemer NEW AMERICAN STORY ART brengt Larry Walczak (NY) werk van vijf Amerikaanse kunstenaars samen. William Powhida, Nate Larson, Edward Monovich, Jim Torok en David Kramer. David, die eerder al aan projecten van Voorkamer deelnam, is naast Larry zelf de enige die naar België komt en logischerwijs ook de enige van het 5-tal die een werk in situ uitvoert.
September 2007: Bart Vandevijvere coördineert een Frans-Belgisch project. De kunstenaars hebben ook beschikking, van juni tot november 2007, over het instalraam in de Onderstraat. Luc Berghe, DD Trans, Stéphane Cauchy (F), Stéphane Benault (F), Emmanuelle Flandre (F), Martin Singer (F), de Marokkaanse kunstenaar Brahim Bachiri en Bart Vandevijvere zelf.
Augustus-september 2008: carte blanche aan het Brusselse CCNOA.
Oktober 2008: Grégory Decock (F), fondateur van het internationale GM kunstenaarsgenootschap, hij woont sinds enige in Brussel, stelt een project samen met kunstenaars die deel uitmaken van GM. Tim Onderbeke, Nicolas Durand (F), Guillaume Escallier, Manor Grunewald, Pieter Bauters, de Brusselse kunstenaar Philippe Cardoen en Grégory Decock zelf. van en Yannick Franck maken deel uit van GM maar nemen niet deel aan het project, Yannick in hoofdzaak omdat hij op dat moment nog geen lid van GM is.
Mei 2009: Stefaan Dheedene en Deborah Delva nodigen Niklaus Ruëgg (CH), Dries Verstraete en Frederik Van Simaey uit om aan het project deel te nemen.
Mei 2010: Characters Make Stories. Dit keer is het Stijn Van Dorpe die de kaart samenstelt en het traject bepaalt.

BIJNA 10 JAAR COWBOY HENK. Crox 10, herfst 1990. Vier jaar later is er nog een project van Herr Seele, crox 22 (herfst 1994), dit keer met zelfportretten en ook een reeks cartoons die hij vanaf circa 1992 voor De Standaard begon te maken.
Kamagurka heeft een solo project in 1998 (crox 72), een mix van schilderijen, cartoons en zeefdrukken.

Larry Krone, crox 97. 'Krone eigent zich op eenzelfde eigenzinnige manier ook de uiterlijkheden van de country & western toe,' schrijft edith Doove (De Standaard, 9 juni 1999). 'In het patroon van zelfontworpen bandanas blijkt taal al evenzeer verstopt te zitten als in de kralenkettingen die hij uit stripverhalen maakt.'

NEW AMERICAN STORY ART, crox 205, een groepsproject gecureerd door Larry Walczak (US). Cartoonesk werk van Jim Torok, David Kramer, Nate Larson, Edward Monovich en William Powhida.

crox 291, cartooneske portretten van Haritz Guisasola Izeta (ES), een Bask die in Madrid woont. De presentatie combineert op sigarettendoosjes geschilderde portretschetsen, enkele grotere werken en een uitgebreide reeks portretten van politiek canaille en aanverwanten.

crox 324, OFF THE CHAIN, een project van Leo Gabin, toen nog als CUM. Een mix met schilderijen en tal van multimediale variaties, installatorische ingrepen en semi-pornografische iconografie waarbij net zo vaak een cartoonesk element hoort.

crox-archives /alfabetic: catalogues and similar 

2017 - De gazet van de toekomst. SPTMBR - Ed. 2005 /www.2017.be/ [The gazette of the future]

ACADEMY, learning from art - Ed. MUHKA 2006
Adler, Gosbert >Creative Camera

Affirm identity
 - Ed. C. Parlato 1997
A maze of Complicity.
 Luca Buvoli, Dianna Frid, Anton Vidokle - Ed. YYZ, Toronto 1996
Artothek 1973-1998
 - Ed. Freunde der artothek Köln 1998
Artothek 2000
 - Ed. Freunde der artothek Köln 2001
Artothek 2001 - Ed. Freunde der artothek Köln 2002
Artothek 2002 - Ed. Freunde der artothek Köln 2003
Artothek 2003 - Ed. Freunde der artothek Köln 2004

Arttaste
 - Ed. Toohscmi 2005
Aus der A.R. Penck Klasse:
 Elke Baulig, Thomas Böing, Andrzej Cisowski, Antje Dorn, Michael Goldstrass - Ed. Galeria Zderzak, Krakow 1991
Awater - poetry magazine, Summer 2009. Blz 24-26: Johan Joos /crox-boek 12: Majuskel/
Axis
 - Ed. Tra-Mundi 1997

Bauhaus. Died Brijs, Stefaan Dheedene, Steve Van den Bosch, Alexander Lieck - Ed. de Warande 2000
Böing >Aus der A.R. Penck Klasse

Certamen Unicaja de Artes Plàsticas. IV certamen - Ed. Unicaja 1998
Certamen Unicaja de Artes Plàsticas
. V certamen - Ed. Unicaja 1999
Chronischen akut 1 - Ed. Schrattenberg 1997
Ciao! Kaskweek 2006 - Ed. Hogeschool Gent 2006

Collectie Vlaamse Gemeenschap. Aanwinsten 1999-2001 
- Ed. Vlaams Ministerie van Cultuur 2005
Creative Camera. Carol Maund, Gosbert Adler, Rupert Sheldrake, Esko Männikkö - 1996 issue 341
Croxhapox 1990-2000 - Ed. Croxhapox 2000

De Barricade. Emmanuel Depoorter, Maud Vande Veire, Erwin Wittewrongel, Pieter Bauters, Robin Vermeersch. Ed. Kunst-Zicht 2004
De genese van het beeld
 - Ed. Opbouwwerk Ijzerstreek 1994 [The Genesis of the Image]
De Piste in.
 Larsen Bervoets, Jonas Binon, Lennert Bouwens, Michiel De Jaeger, Michel Petré, Steffie Van Cauter - Ed. Hogeschool Gent 2005
Dheedene, Stefaan >Bauhaus

Dienst Kunst-Zicht. 
Jean-Jérome D'Hoorne, Valérie Capillon, Nell Donkers, Tanja Barczuck, Peter Bondewel, Leen Steurs, Achim Biebouw, Omar Lachgar - Ed. Hogeschool Gent 1997
Disidencias
 - Ed. Sala Siglo 21, Màlaga 1999
work shown in croxhapox in 1995

Dorn >Aus der A.R. Penck Klasse
Doubrawa, Reinhard. Auf meinem Weg ins Paradies. Salon Verlag Koeln 2007
Doubrawa, Reinhard. News. Salon Verlag 2004

En Passant - Ed. Croxhapox 1991
Extra - A biannual magazine on photography, Summer 2009

Fashioned
 - Ed. White Box NY 1998
Foto+
 - 60e jaargang NR 6, june 2005 >galeriemanie: galerie croxhapox

Herkunft? Gosbert Adler, Tina Barney, Richard Billingham, Anthony Hernandez, Fazal Sheikh - Ed. Fotomuseum Winterthur 1996
Het trage vuur - tijdschrift voor Chinese literatuur. Nr 24, Leiden December 2003 [The slow fire, magazine of Chinese literature]
Horse DeLuxe - january 2010 /www.flickr.com/groups/horsedeluxezine/ 

Identi /3/ - Filip Naudts, Tanja Vrancken, Guy Voet - Ed. Prov. Museum voor fotografie 1997
In 
het teken van de stier - Ed. de Warande 1994 [In the sign of Taurus]
Inmiddels 1 - Ed. Croxhapox 1995 (croxkrant, limited edition)
Inmiddels 2 - Ed. Croxhapox 1996 (croxkrant, 
limited edition)

Janus 15/03. Sound and vision
   - 2004 >p.56-59: The Singing Painters

Jonge kunst uit het Gentse: Ria Bosman - J. Boutelegier - Vincent de Roder - Ignace De Vos. '93 - Ed. C.C.St.A. 1993Kruispunt

klank kruispunt beeld - Ed. Hogeschool Gent 1995 [Young art from Ghent and environs]
Kunstbeeld. Galerie jaarboek 1997
 - Ed. Kunstbeeld 1997
Kunst en Zwalm - Ed. Boem 2006
Kunstgids 2003 - Ed. Ministerie Van de Vlaamse Gemeenschap & DWR 2003

Kunst nu. Andreas Brehmer, Johan De Wilde, Servi van Grinsven, Hendrik Vermeulen - Ed. Vereniging van het S.M.A.K. 1999
Kunstpreis Robert Schuman
 - Ed. Villa Vauban (Luxembourg) 2003
Kunstruimte Kampen. 47 projecten 69 kunstenaars
 - Ed. Stichting Kunstruimte Kampen 1996
Lokaal 01
 - Ed. Lokaal 01, Antwerpen 2006
Mycose NR 19 
- janvier 2007
Once lost Once found Now exposed
 - Ed. Front Hengelo 1998
On very special brief occasions
 - Ed. Flacc Genk, EI Gent, Voorkamer Lier 2002
Open Deuren
 - Ed. Croxhapox 1996
Over FORK gallery
 - Ed. Witte Zaal 2000
PerTWEE
 - Ed. Hogeschool Gent 1999
Picto(s) 
- Ed. Iselp 2006 >work by a.o. Gregory Decock
Pop mix volume 1 - Ortsbegehung 2.
 Gabriele Basch, Claudia Hart, Thomas Hauser - Ed. Neuer Berliner Kunstverein 1996
Praktijkboek voor tentoonstellers
 - Ed. Kunstwerk(t) 2006 [Guidebook for exhibitors]
Rood gekookt
 - Ed. De Brakke Grond, Amsterdam 1996 [Boiled Red]
Station 2 Station
 - Ed. 2002
Stille schilders. 
Mario De Brabandere, Ilse D'Hollander, Ignace De Vos, Alex Michiels, Maryam Najd - Ed. Caermersklooster 2003
Tat-Ort.
 Gosbert Adler, Antje Dorn, Friederike Feldmann, Thomas Hauser, Kryptische Konzepte, Detlef Lemme, Markus Strieder - Ed. Kunstamt Kreuzberg, Berlin 1996 [Silent Painters]
The Turner Prize 1996.
 Douglas Gordon, Gary Hume, Simon Patterson, Craigie Horsfield - Ed. Tate Gallery 1996
Tongues of fire 
- Ed. Arnhem Institute of the Arts/Kunstakademie Düsseldorf/Koninklijk Museum voor Schone Kunsten/Hogeschool Gent 1997
Units
 - Mobiel tentoonstellingsproject - Ed. Kunst in Huis [Mobile exhibition project]
Von Haus aus.
 Gudrun Emmert, Juliane Heise, Markus Hutter, Kordula Klose, Susanne Moll, Heinrich Roemlein, Michael Vorfeld - Ed. Produzentengalerie, Kassel 1993
Wolff, Renate >Zwischen den Weltenâ

Young artists (selected by) 
Luk Lambrecht - Ed. Witte Zaal 2002 /Stijn Cole, Eva De Leener, Hadelijn Dewilde, Isabel Ginneberge, Kadiriya Elma, Lieven Leurs, Tynni Oorlynck, Vadim Vosters, Karel Wouters, Josine Timmer/
Young artists (selected by)
 Philippe Van Cauter - Ed. Witte Zaal 2005 /Christophe Engels, Nick Ervinck, Johan Gelper, Isabel Ginneberge, Ruben Kindermans, Fien Muller, Merlyn Paridaen, Marie Snauwaert, Kim Vandaele, Maud Vande Veire, Lotte Van den Audenaeren, Linda Van Neck, Hannes Vanseveren, Tim Volckaert, Vadim Vosters/
Young artists (selected by)
 Hans Martens & Mieke Mels - Ed. Witte Zaal /Maité Bailleuil, Youri Cruypeninck, Charlotte De Groote, Wouter Feyaerts, Charlotte Lybeer, Lotte Van den Audenaeren, Brecht Van Wynsberghe, W.I.J., Karel Wouters/
Young artists (selected by)
 Dirk Pauwels - Ed. Witte Zaal 2007 /Hallveig G.K. Agustsdottir, Steven Baelen, Jonas Drieghe, Johan Gelper, Tinka Pittoors, Annelies Tyberghien, Pieter Vanden Broecke, Peter van Loon, Karen Vermeren/
Zie Tekening
 - Ed. Voorkamer vzw & Lierse Stedelijke Musea 2004 [See Drawing]
Zone of risibility. 
Wendy Hirschberg e.a. - Ed. The Rotunda Gallery 1999
Zuster S, begina. Kunstenaars & begijnhoven
 - Ed. Liers Genootschap der Letteren & Voorkamer Lier 2002 [Sister S, beguin. Artists and beguinages]
Zwischen den Welten
 - Ed. The Korean Culture & Art Foundation 1999

Participates in the sequel of BASICS 2 in Abbey Maagdendale, crox 145-II. A cube of sand, it is one of the most remarkable contributions. 

Cauchy is a member of Alter Native, a multidisciplinary collaboration project of Bart Vandevijvere/DD Trans/Luk Berghe and artists from the North of France. In the crox-programme since June 2007: first a series of installation windows (the first one in June 2007 is a work by Stephane Cauchy); from the first of August an encampment starts in the white space at crox and a group project originates there in September 2007.

>Benault >Flandre >Bachiri >Singer

 

[The Cauchy family is one of the most famous mathematician families of all time. See Group Theory]

Finish artist. Enters a maquette for the Signos-project (1991-1992).

[Suomalainen taiteilija. Anta avustuksena ehdotus Signos-projectilla (1991-1992).]

Signos de Admiracion (1992). Aborted project with 25 international artists. The archives have no information about the plans of Umberto Cavenago.

2008. 31 augustus tot 14 september. Gastproductie van het Brusselse CCNOA. NOA = Non Objective Art. Groepsproject met een twintigtal kunstenaars. Julian Daspher (NZ), Billy Gruner (AU), Ro Hagers (NL), Koen Delaere (NL), Ward Denys (BE), Léopoldine Roux (FR), Michelle Grabner (US), Tilman (DE), Sacha Goerg (CH), Kyle Jenkins (AU), Sarah Keigerty (AU), Ton Schuttelaar (NL), Ingrid-Maria Sinibaldi (FR), Gerold Miller (DE), Andrew Leslie (AU), Michal Skoda (CZ), John Tallman (US), Jan Van der Ploeg (NL), Machiel Van Soest (NL), Pieter Vermeersch (BE), Jan Maarten Voskuil (NL) en Lars Wolter (DE).
De corridor functioneert als teletijdmachine. De presentatie, in de zaal achterin, is een kleurrijk geheel van Non Objective Art objecten. Geometrisch minimalisme, een aantal in situ ingrepen, spekgladde objecten, abstracte composities en monochromen, alles bijzonder zorgvuldig afgewerkt. Enkele van de kunstenaars die aan het project van CCNOA deelnemen, runnen ook zelf een NOA-ruimte, Billy Gruner in Sidney, Jan Van der Ploeg in Amsterdam.
Tijdens de openingsavond is er een concert van Monkey Arse met o.a. Tilman op sax.

Joins the crox board in October 2007. Studied at Kask (Hogeschool Gent), department 3D, and won a seat in the Ghent city council for Spirit in 2006. As an artist, she concetrates on film.

crox 290 (February 2009), solo project in the large space. Paintings and photos.
Participates in the Brussels Zennestraat 17 project during the second presentation (October 2009).

'Middle of the year' event of students of Kask (2008). CM co-ordinates the event and immediately afterwards is invited for a solo project.
crox 329 (March 2010). Solo project in the main space, simultaneous with Nel Aerts. 

1. Half a dozen chairs still hanging out in croxhapox after the first and only solo project from  J. Vander Borght />alter ego/ in januari 2005. Three colours: red, grey and blue. They don’t want to be stacked up unless in untenable acrobatic accumulations and are therefore mostly in the way. Unless when they are in use. The usual usage: accomodating seat-loving bipeds, lend a helping seat during meetings and allowing some bloke to stand on them to put a screw in the wall. During the project, Joris had tipp-exed a sentence on each one. A remark, a gibe, a lament. The blue one, for example, has the sentence I sit and wait. Later on, Tim Onderbeke remarks that the chairs, as he has seen on internet, are worth quite a heap of money. If in good condition, that is.
2. Plus minus 30 chairs from the reserve of Kask [Academy of Fine Arts]
furnished by students since 2007, mostly during mid-term or end of term
expositions. Stackable and sometimes embellished by writings, scratches, graffiti, blotches, simple or complex.  
3. Two easy chairs of black imileather, also commonly known as imitation leather, leatherette from the Ikea of Smetlede as that hole is called, a mega junk shop on Lede territory, which have been in use in the office for deskwork and similar activities ever since 2006. Sit comfortable. One of the chairs has a loose leg.
4. Three brown bar stools at 50 euro each, acquired from aforementioned mega junk store. They had a lot of two dozen bar stools, all identical.
5. The highchair of Grégory Decock (F), an antique chair his mother is said to value very much but which has for some reason or other been around in croxhapox after the GM project (2007). The accompanying little desk also is valued highly.
6. A chair Wouter Cox marks with 666 aanbrengt. (crox 12, January 1991) Or rather, the chair Wouter Cox drapes a white t-shirt over, nicely hung on a clothes hanger and which has been marked with 666. How the mark was applied is time forgotten.  
7. A battered chair with a blue seat and back. Not quite clear when the thing turns up in croxhapox.  
8. One day, Susan Clynes dumps two prie-dieux at crox, which van mercilessly saws the backs off.
9. Two metal chairs without cushions on the seat or the back, out of fashion design from end sixties or mid seventies, rusty in spots, ultimately unstackable, which for logical reasons was never intended anyway and goodlooking in a certain way, that is. How they arrived in croxhapox, we don’t know. Quite often all and sundry stays behind at the end of a project, things suddenly not a soul cares about anymore.
10. For Return To A Temporary Calm Rudy en Lorenzo (2010) knock up three benches, so nicely botched together that they already break apart when you sneeze, or more precisely put, when you fart. After the project they end up in the storage (a remarkable history it has, that storage), later they are turned into firewood.
11. Man seated. Nel Aerts during her solo project in 2010. The ritual. She sits at the end of the corridor, right where visitors enter the big space in the back, and presents each visitor with a carefully finished envelope with an invitation to come and take away one of the many pieces of wood numbered 1 to 300 when the project ends. Adam Geczy (AU) during Toasting On The World Food Crisis With A Bottle Of Dom Perignon (2007). Memorable moment. He sits at a small table covered by a white cloth. At the table is a bottle of Dom Perignon and a flute. Above his head a text is projected one sentence at a time, more or less like a feature film sans images. Adam raises the image to significant levels. He sits at a white, clean table and drinks Dom Perignon, his face entirely white, he doesn’t say a word and there is nothing which could indicate he is even in the least aware of the excentricity of his behaviour. On his own, he entirely empties the bottle of champagne. One single shot, a single sip of such a glass of Dom Perignon is the equivalent of the yearly wages of people living in, I just pick one, Burkina Fasso. 
Alan Smith during the Five Collaborations project (2007). He sits in a leather chair, in the middle of the project, and he is radiating, overlooking the battlefield. The attendant at the small, veneered table in the hall, under the from time to time loudly buzzing blackheater. She is wrapped up warmly, bending over a laptop. Jonas Scheys and two other performers (1 April 2007) during the performance of a work from John Cage. They are in the office. At the same time another performer sits in the lage space in the back and performs a piece of the same composer, a piece for typewriter, a short set of instructions which
will be repeated later that night by still another performer. In 2004 we didn’t have a blackheater in the hall. CarianaCarianne /the first project, crox 118, April 2004/ sits in the hall, close to the door leading to the corridor, she reads and writes and holds her legs over the radiant heater, more or less the only way to see this sitting marathon through. Hans Bryssink and the students of 2nd bachelor Multimediale Vormgeving, 6 years later. They sit in the hall and
discuss what they are going to do next season.
12. For Tagmosis at Croxhapox (December 2008) Eli from Ciclic and Lazara from Mahaworks rent a stand and surprisingly it is quite full with people.

13. The meeting chair. An executive chair. Two beer crates: the easy chair. Three beer crates: the déjà-vu of De Morgen in a row. Four beer crates: a foothold for the twaddler. A plank, a tree trunk, everything even modestly resembling the horizontal plane is an opportunity.
14. In 2009 Johan Boutelegier and Hannah acquire a new couch. The old one, a three-seater covered in brown fabric, is from the end of March till mid August 2009 a part of the crox-furniture and finally turns up in Brainbox2 at the very end of the project. During the finissage The Singing Painters perform and Michaël uses the milkbrown sofa as a seat.

HEIRNIS GEEFT KUNSTENAARS RUIMTE Veerle Vogelaere, De Gentenaar, zaterdag 28 zondag 29 september 1996. De introductie opent met een verwijzing naar Chambres d'amis:

'Bewoners die hun huis openstellen voor een kunstenaar én bij uitbreiding voor het publiek, het is niet voor het eerst dat dit in Gent gebeurt. Toch verschilt het 'Open deuren'-project van vzw Croxhapox grondig van de moeder van dergelijke evenementen, 'Chambres d'amis'. 'Open deuren' is namelijk geconcentreerd in een enkele buurt en de deelnemende buurtbewoners hadden ruim inspraak in het project. Alle bewoners van tien straten rond de Croxhapoxruimte aan de Aannemersstraat kregen een uitnodiging om te participeren bij 'Open deuren'. Zowat 600 adressen werden aangeschreven en dat resulteerde in 94 locaties. Dit en komend weekend kan iedere geïnteresseerde er terecht.'

KUNST VAN DEUR TOT DEUR (EB), De Morgen, vrijdag 27 september 1996. Ook (EB) verwijst naar Chambres d'amis:

'Instellingen voor hedendaagse kunst die uit hun isolement breken, daar hebben ze in Gent al eerder van gehoord. Tien jaar na datum geldt Chambres d'Amis van het Museum voor Hedendaagse kunst nog steeds als een referentie. De nog vrij jonge vzw Croxhapox in de Gentse deelgemeente Sint-Amandsberg steekt dit en volgend weekeind eveneens de handen uit naar de buurtbewoners.'

CHANDELIER, one of the characters in The Gentlemen's Gentlemen
The text of the Chandelier is spoken by an actor/artist from New York, someone from the circle of acquaitances of Noe Kidder or Brian Getnick. The colophon has a list: Jeff Harms, Katie Fitzgerald, Eura Chun, Vanessa Valladares, Yumiko Takagi, Noah Wadden... 
I bet it was Harms who had the role of the chandelier. He is not present in the flesh during the spectacle. His and the palm tree's roles were reduced to a video.

Chang, Nan-Ping (Taiwan) Crox 149, 30 September and 1 October 2005. Solo performance 444.

Fragments from a text about 444: /444 is a solo dance performance. The basic idea refers to one of the most motivating but destructive characteristics of humankind: greed. Many daily movements or endeavours are the effect of the ambition for results, a material gain or the feeling of having enriched oneself./ 

/A second theme comments on the growing demands to the human body as an aesthetic object./ 

/444 is in essence a simple performance. A dancer moves in an almost empty space, is this way attention is drawn entirely to her body/ carefully and cutiously she explores the space/ 

/gradually she starts to act strangely/

/radical >metamorphois/ transforms into a pig/ In this stage instinct takes over from ratio and the person on stage coincides with her drives ( ) translated in a primitive, animallike language of movements. The whole feels raw and violent./

/What started as a disgusting scene (is) gets more and more a status of beauty, of freedom./  

/After this animallike stage follows a meditative episode./ (>naked) she moves imploringly,/

(apparently eastern)/

/During the >performance slides are projected showing details of body parts. After the performance a short movie is projected./

change of direction

June
1990. Croxhapox has been active for only a few months. Mid April 1990 Frank has joined the group which really isn’t a group because only Hans  is occupying himself with matters. Guido is to busy in his television job. It is Frank who proposes to prospect in a more
thorough and focused manner instead of just fishing in our own pond.

One of the very first artists who are visited by Hans and Frank is Michaël Borremans. MB is at that point in time not yet ready to paint.  He’s making graphical work and drawings with an emphasis on a kind of baroque pomp.  Hans and Frank decide not yet to show the work.
 

The COD Frank envisages causes some oppoisition from Hans. He has misgivings. For example: what’s the use showing work of well known artists? They ARE well known and precisely for that reason not really interesting.  The potential is in the vast hinterland of little known or absolutely unknown artists who get no exposure because the posh circuit offers few or no opportunities for unknown talent.  
From 1991 Hans falls in with the new and adventurous discours. Immediately this COD widens the programme. Croxhapox at that moment has no location and can’t organise exhibitions. All projects are specific and thematic. An idiosyncratic drive and a nervous expansion are characteristic for those times.

Halfway through 1991 an interesting but not always easy balance between the ideas and plans of Hans and Frank dominates crox’ discourse. The ultimate failure of the first COD (croxhapox at
the time probably didn’t have sufficient resources to organise a mega project which could have been the precursor of  Over
the Edges) had little impact on the essential rationale for croxhapox as an art idea. In En Passant (1991) no well known artists, apart from a few exceptions, were programmed and also the Copy Art project (1991-1992) had young talent and breathed anarchy.

The targeted COD, with a.o. projects such as Signos (1992), met with an abrupt lack of interest from the posh scene: famous artists who were invited turned a blind eye. The limitations were a part of the discourse: was it by any measure opportune to present well known
artists?   

COD 2, zomer 1994. From the end of 1992 croxhapox is on hold. Hans has a girlfriend, Kristel. Kristel owns a house and thinks it’s a good idea to restart croxhapox in the basement of Aannemerstraat 54.   A new beginning. The projects follow the line of the first croxhapox stage, in het croxspeak important or famous artists have
no meaning whatsoever, we start at the bottom.  In 1995 Michaël Borremans has his first crox-solo, Dirk Zoete, Thomas Broadbent, Jan De Cock, Ward Denys, Anton Cotteleer, Johan De Wilde and a lot of others follow suit. The difference with the previous period is absolute freedom: there are no names.  Names are fabricated. That’s why no capitals are ever used in invitations and posters. Capitals belong to the posh scene which actually knows hardly anything about art. The COD forced by Hans van Heirseele b rings about a remarkable momentum.

During the Summer of 1995 Frank joins the team once more. It is only a short episode for Frank, the episode of the opening speeches and the concerts. Frank stresses the importance of a lively atmosphere.

At the end of the nineties Croxhapox becomes one of the most remarkable spots in Flanders.

The third COD is in a minor key: Hans leaves Belgium. He’s off to the South.

The fourth COD happens in 2004. By then, Croxhapox has been active for a while in a factory building close to Dampoort.  The artistic management argues for the importance of a more experimental position (the brainbox idea) and the team implodes. At the same time the new government policy on the arts is passed [Kunstendecreet].

At the start of 2005 Joris Van der Borght and Nancy De Vos enter the crox realm. The team is suddenly expanded with a lot of new members.  It is the start of a change towards a more expeerimental way of operating in which a transparant position and communication explicitly get as much attention as quality of form and content. At the end of 2006 the BRAINBOX project results in a masterly climax.

crox 289, TVF art doc cinema.
L' Oratorio d'Aurelia (2003), jan-feb 2012. Met Aurélia Thierrée en Jaime Martinez. Regie: Victoria Chaplin.
Cirque invisible (1996), nov-dec 2012. Victoria Chaplin (kleindochter van) en Jean Baptiste Thiérrée.

L 'oratorio d'Aurelia (image: Svend Thomsen)

Victoria Thierrée Chaplin, kleindochter van Charlie Chaplin, duikt eind april 2009 een eerste keer in het crox-programma op, in de derde presentatie van TVF art doc cinema. Vanaf januari 2009 kon Svend Thomsen permanent over de zogeheten videoruimte beschikken. Na zomer 2012 verhuisde de TVF presentatie naar een zithoek boven de kubusruimte. De derde presentatie, een selectie waar onder andere ook Hugh Davies, Joan La Babara en Judy Donaway deel van uitmaken, is aan vocal performance gewijd.
In 2012 is er L'Oratorio d'Aurelie, een productie uit 2003, geregisseerd door Victoria Thierrée Chaplin,

een verbluffend spektakel, als het gros van de TVF docu's uit die periode in Kopenhagen gefilmd, met Aurélia Thierrée en Jaime Martinez in een fantasierijke en technisch verfijnde opeenvolging van taferelen, waarvan ik me vooral het dwars door de buik van Aurélia rijdende treintje herinner en een tango met partners in wisselende jassen.
Begin 2013 volgt Cirque Invisible uit 1996, van Victoria Chaplin en Jean Baptiste Thierrée. Ook deze productie werd in Kopenhagen gefilmd. '... Chaplin's serene transformation scenes, in which she carefully rearranges her intricate garments to create a menagerie of fantasy creatures...' (Liz Arraton on Cirque invisible)