encyclopedie

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: big
name 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 for 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.

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.

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)

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)

crox 458, februari 2014. Groepsproject samengesteld en gecoördineerd door Dries Douibi. Werk van Jasper Rigole, Fabrice Pichat, Annelien Vermeir, Meggy Rustamova, Benjamin Verhoeven, Stephen Verstraete, Philippe Van Wolputte, Berten Jaekers, Jonas Vansteenkiste & Veerle Michiels en Hou Chien Cheng. Van Hou Chien Cheng een werk met The Good News als titel.
_MG_9024

2009. crox 289-5. TVF art doc cinema, The Theatre Compilation. Documentary of Dans la solitude des champs cotton, a production from 1995.

Woonplaats van
CarianaCarianne - projecten in 2004 en 2006, crox-boek Nr 3
Debra Tolchinsky - project in 2006
Dianna Frid - projecten in 1998 en 2006
en tot 2008 woonplaats van
Brian Getnick - projecten in 2007 en 2008, crox-boek Nr 9

crox 381, Project For A Chocolat Factory, instalraam van Michael Filez. Locatie Onderstraat 26. Oktober - december 2011. Vijfhonderd doodshoofdjes van chocolade.

DRY - The Ultimate Rain Dance, 1996. TVF art doc cinema, 114'. Presentatie in 2010.

March - June 1990 - Chronology

5 March 1990: the first floor of Beverhoutplein 7 (Sint-Jacobs Gent) is empty

15 March 1990: Installing 'art machine' (crox 1).

16 March: Hans paints the word croxhapox on the windows of Beverhoutplein 7. Un chien Andalou in Studio Skoop.

19 March: Edwin Carels takes pictures of 'art machine'. This series of pictures is, documentwise, the only relic of crox 1, and, apart from an early portrait of Frank en Hans the only photographical relic whatsoever of the early days of croxhapox.

27 March: crox 2 opens. Paintings by Hans van Heirseele. From the époque of the second series of still lives, oils, brushed roughly.

1 April: Ignace De Vos is the only visitor on that day.

2 April: the name croxhapox is replaced by 'upground'.

4 April: 'upground' is replaced by croxhapox.

10 April: crox 3 opens, 'Roest rust' assemblages by Edwin Carels. Hans finishes the wall painting on the first floor and manufactures the signboard.

12 April: 12 visitors.

13 April: visiting the workspace of Daniël Vandenbrande.

17 April: unanimous decision to start a VZW [non-commercial foundation]. Guido has a change of heart after he initially opposes the foundation of a foundation. From that moment on he will be a pain in the ass. He will only contribute from time to time. Hans and FF draw up a schedule.

26 April: crox 4 opens and Hugo De Leener doesn't turn up.

3 May: visit at the workspace of Michaël Borremans.

7 May: crox 5 opens, works by Peter Vandekerckhove.

10 May: visit at Johan Joos' workspace.

11 May: "schrappen wat niet past" [delete as
appropriate]
, the 1st poster-campaign takes off. Ghents inner city is flooded with the crox logo. The campaign consists of three posters positioning croxhapox as an artistic concept. Most of the oneliners are coughe up by Guido.

17 May: workspace visit at Annick De Zutter's.

20 May: crox 6 opens, works by Andre Posman.

28 May: the local copper urges us to remove the blue signboard from the facade. Hans removes the blue signboard.

29 May: The blue signboard is after all put up again.

A day of prospection, without apparent result.

4 June: crox 7 opens, drawings by Daniël Vandenbrande.

August-October 1994 - chronology

1 August: Basement of Aannemersstraat 54 becomes vacant. Perfect opportunity to restart croxhapox. Kristel digs the idea. Guido remains sceptical.

11 September: Herr Seele commits to a solo project at the end of October.

13 September: Registered letter to the 'Staatsblad' [Belgian statute book].

14 September: Postal package from Guido with second version of funding. Wallpaper of the basement is removed and the walls are cleaned. The signboard regains its honoured place. At the moment no idea how to design the lighting.

15 September: Walls smoothed out and treated with solarine. Primed.

16 September: A call by FF.

17 September: Croxhapox revisited. Direction - Spot. White walls and carpentry.

19 September: New bank account and a pile of remittance forms. Meeting - Kristel, Guido, Bram. Dotting the i's. Guido thinks 4 projects a year are the limit. 

22 September: Erik begins installation of the lighting in the basement. Halogen spots are hung from a system of tubes.

27 September: Message from the Staatsblad. Herr Seele informs that he doesn't have the time to design the invitation.

28 September: FF considers to be standby.

29 September: Refurbishing of the basement kitchen. Invitations copied, A4-ish.

3 October: Stamps, 1000,- BEF. Dirk Peers promises to do a solo project.

4 October: Sandpapering of the tubes for the lighting. A coat of red lead to finish.

5 October: Bill from the electric shop addressed to Axoproxk. Contacting Olbrich. Guido is aggravated by the way things are going.

7 October: We have 1 patron, Lucien Posman.

8 October: 4 crox-cards are published. Call by Wouter Cox, something about the font they would like to use for Barbabelge.

9 October: Mailing of a statement to selected papers and magazines. Poster OK. Copying on 180g paper excluded.

12 October: Seven patrons and a preliminary total of 4600,- BEF. Final touch woodwork.

14 October: Herr Seele says Fabian will arrive with the paintings on Sunday.

16 October: A droll misunderstanding. Master obviously suffers from some hypertrophy of the ego. Difference of opinions on the selection. Too much immature work, is what we think. Final commitment by Dirk Peers.

17 October: To fetch two works by HS at Michiel Hendryckx's. Breakfast table, a cup of joe.

18 October: MH has three more self-portraits by HS. Guido tried 200grams paper for the crox-cards and doesn't have enough time. 10 paying patrons.

20 October: We order a set of drinking glasses at Rogge. Guido vetoes, he thinks the early work of HS below standard.

22 October: Bart and Surrender bring five bottles of white wine. The are a week early.

23 October: Fabian brings another small piece by HS.

24 October: Already 8400,- BEF of donations. Danny Dobbelaere from Het Volk [Dutch-language Belgian newspaper].

25 October: De Morgen [Dutch-language Belgian newspaper] publishes a version of the press text, edited by EB.

26 October: Guido angry about the article in DM. Some repairs. Booze, wineglasses and tankards. At Studio Brussel there is a short item about HS and Croxhapox. Erik tackles the kitchen. L'Atalante by Jean Vigo on television.

29 October: Opening crox 22, fifty-odd visitors. The photografer of Het Volk waits for HS till 10 p.m. HS arrives only at about eleven and almost immediately takes off again. Dirk De Neef introduces us to Patricia Smith, a New York artist.

September-November 1996 - chronology

2 September: Press text for De Morgen, Het Volk and AVS [local television station]. Karien, Dirk Braeckman, Ignace De Vos, Wouter Cox and Thomas Mistiaen. Johan Neyt doesn't participate. Installation window project halved - Onderstraat 51 no longer available.

3 September: Visit of the workplace of Dirk Peers. Appointments with Dirk De Neef, Johan Van Roy and Koen Vercaemer.

4 September: Meeting with graphic designer. DP moves to Tienen - under surveillance. Decision on the locations for Beatrijs Lauwaert, Philippe Vandenberg and Michaël Borremans.

5 September: Luc Van Soom and Wim Delvoye on the phone. A package of Thomas Hauser in the mail and a letter from Rumiana Popova. Het Volk informs us that they will publish a 'drop'-article. De Morgen also, says E. Bracke. Evening meeting about the Indonesia-project of Tramundi.

6 September: Prepress affiche becomes 9 September.

8 September: Kristel busies herself with the design of the brochure. In the evening on location in Wolterslaan, with  Theresa De Smet and Philip Vermeulen.

9 September: Merlyn & Adriaan agree on a gig during opening crox 50. Appointment with Dirk Braeckman. Meeting with Philip VB.

10 September: AVS. Invitations crox 50 and Open Deuren dispatched. Extra press messages for AVS and Eric Bracke. Layout brochure almost finished. Location Scheldestraat 71 no longer available. Adapt. Two new locations: Scheldestraat 55 and Wolterslaan 119. PVB parasitizes. With Thomas Mistiaen prospection of a location in Bouwmeesterstraat.

11 September: Noordstarfonds considers sponsoring. Early afternoon: fetching works of Johan Van Roy. Build-up crox 50. A call from Lucy Slock. Evening appointment with Philippe Vandenberg. We dine in Ornek.

12 September: Paul Gees informs us he can't participate. Positive advice from the department of culture of  Stad Gent. Regine C from BRTN culture desk. Communication with PVB below freezing point. Build-up exhibition Johan Van Roy and appointment with Krist Demasure. Quote from Sint-Joris Merendree [printer's]. Peter D, Mieja D and Wouter C. Marc De Clercq on location in Wolterslaan. Short working meeting with PVB.

13 September: Karel D calls off. Second mailing of invitations. Appointment with one Colette from AVS. Reportage and interview Wednesday 25 or Thursday 26. Sint-Joris Merendree - printing will be with one support colour. Call from Koen Brams. Later Marc De Clercq and Michaël Borremans. Meetings with Dirk Braeckman and Peter Lein postponed till tomorrow. PVB drops in in the evening.

20 September: Interview by phone with someone from De Gentenaar. Poster run of 250 copies, print. Deadline layout brochure missed by a hair's breadth.

21 September: MacDonalds from Dendermondse steenweg donates 5.000,- BEF.

22 September: Kalken, In Den Bouw. In Wetteren a project by Tom Jooris, at Bart Baele's home. Danny vandenbossche agrees to give the opening speech. Extra sponsoring from Bakkerij Bacaert and Frituur Cathy.

23 September: Sint-Joris Merendree. Call from AVS. Later Gilde De Bal w/r/t project of Ignace. Somebody from Het Volk. In the evening fetch work of Robert Clicque. Marc De Clercq.

24 September: Definitive breaking up with PVB. Intolerable opportunism. Fax message from the press- and newsdesk of VTM [Dutch speaking Belgian commercial television]. Purchases for the installation window of Ije: board, white acrylic, plastic foil and neon lamp. Bart Maris agrees for a concert on Saturday. Sunday also ok. Invitation opening, 500 copies. Appointment with Michaël B. Locatie of Dirk B - Scheldestraat 70.

25 September: Ije Raaijmakers, Koen Vanderhaeghen, Dirk Braeckman. At 10am Jan Blondeel and the crew of BRTN [Dutch speaking Belgian public television]. Visit the houses of Korzakov, Vincent de Roder, Michaël Borremans, Karien Vanderkerkhove and Philippe Vandenberg. At half past two the crew of AVS. Appointment with Anneke and Thierry. Ruth. In the evening Yves and Christin.

26 September: Fetch work of Dirk Peers in Kortrijk. AVS: item in the news.

28 September: Solemn opening of Open Deuren > OPEN DOORS. Speech by Danny in the doorway of Aannemersstraat 54. Act by Kamikaze in the basement. A crowd. Estimated 500 to 600 interested.

29 September: Like yesterday, 600 interested, more or less.

30 September: Frank, Kristel - informal meeting.

5 October: A rainy day dag. New series of oil paintings. In spite of the rain still several hundred visitors. In the evening Huize Jacobus.

6 October: Approx a thousand interested. Impressive. 

7 October: Interview with Veerle Vogelaere of De Gentenaar.

8 October: Article about OPEN DOORS in De Gentenaar.

11 October: Appointment with Czech artist Jaroslav Koran. Installation window in Serpentstraat. JK hardly prepared.

13 October: Vernissage of solo-project at Galerie Devos in Aalst.

14 October: Jaroslav has an alternative proposal.

15 October: video of crox 50. In the evening out with Jaroslav Koran.

17 October: Installation window JK is a disaster. And one of the most expensive at that. Evening at Gosbert and Antje's.

26 October: Get Thomas Broadbent at Zaventem. One Rolle C with a portfolio.

28 October: Installation window in Onderstraat, work by Nicoline VS.

29 October: With Thomas B from Gent to Calais. Rough ride at sea. TB demolishes the glove compartment. Rooms in Gower Street. On the Soho tour we end up in a jazz club. Concert by Cedar Walton. Tom snores like a pig.

30 October: Turner Prize 96 in Tate Gallery. Douglas Gordon. An alternative non-profit place in North Londen. Afterwards Covent Garden.

31 October: Rain rain rain. From Londen to Oxfordshire. Sublime landscapes. Marlow, Steirmett - a winery, Park Corner, Henley on Thames. Oxford, boring. We continue to Winchester.

1 November: Winchester, Petersfield, Arundel Castle. Brighton, Newhaven. The cliffs near Beachy Head. In Dover control by customs. Then Calais. We reach Gent at 10pm.

Roel Jacobs, een coproductie Circa/croxhapox, november 2009. Een fragment uit de crox-box, 3 november 2009:(1)

China
Roel Jacobs over China. Al in 1989 was 't hem opgevallen: de mensen zijn
er direct, open, spontaan, hebben geen schrik om zogenaamd verkeerde
dingen te zeggen. Alleen als ze met uniformen te maken hebben, zijn ze
wat rustiger.
Ook hebben ze een enorme controle van zichzelf, zelfs
als ze zich in een ongestructureerde, niet te vatten, chaotisch door
elkaar wriemelende massa bevinden.
Je ziet ook zo weinig politie.

Europalia China 2009 is een bijzonder clichématige benadering van China.

Xian is vlakbij het terracotta-leger.
Nanjing
heeft een prachtig station. Alle spoor- en invalswegen bevinden zich
onder het station. Het stationsplein zelf reikt tot aan de rivier. Als
je het afwandelt, kan je in de rivier stappen.

De toiletgebruiken
in de grote steden zijn luxueus. Alle appartementen en hotelkamers
hebben een badkamer, moderne toiletten, douches.

Roel maakt een
vergelijking met Egypte. Op de ansichtkaarten is het er altijd zonnig
terwijl het in Egypte net zo goed mistig kan zijn en regen hebben ze er
ook. Ansichtkaarten vertellen een fout verhaal.

Xian. Zeer groot. Een universiteitsstad. Xian is een van de oudste steden.

(1) Het project van Roel Jacobs is de presentatie van een diptiek, in croxhapox met focus op het tweede deel, hoe personen met Chinese identiteit het nieuwe environment beleven.

Kunstwerken: Tamelijk willekeurige tussenstanden van een intellectueel proces dat onbeperkt kan worden opgepakt, voortgezet, veranderd, tenietgedaan. (uit de 'cahiers' van Paul Valéry) Gebruikt als introductie in de catalogus van A Group Show curated by RE:°, eerste bladzijde, bovenaan. Ook Hans Theys maakt van het citaat gebruik, in dezelfde catalogus, waarvoor hij een bijdrage schreef met 'Als een luidop, maar toch zacht denken' als titel: "Kunstwerken," laten ze Valéry verklaren, "zijn tamelijk toevallige tussenstappen in een intellectueel proces,"

'Cependant...' Et Pécuchet répéta deux ou trois fois 'cependant' sans trouver rien de plus à dire. (Gustave Flaubert, Bouvard et Pécuchet) Particles, Johan De Wilde, crox-boek nr 2 (2006). Introductie. In dezelfde editie, bladzijde 22: Gelezen bij Max Frisch: 'Hij glimlachte om één van zijn vroegere overwegingen: waarom de mens op ellende en dood rekende, terwijl geluk even onontkoombaar was en dikwijls bereikbaarder dan misère.'

Circles in water as they wider flow The less conspicuous in their progress grow, And when at last they trench upon the shore, Distinction ceases and they're view'd no more. George Crabbe, Circles. Aangetroffen op bladzijde 19 van Borders, crox-boek nr 3 (2006) van CarianaCarianne. Er is er nog eentje, bladzijde 37, net voor de lezer het derde hoofdstuk betreedt: On that day, the realm of France received on parchment a stupendous accession... the vast basin of the Mississippi... and all by virtue of a feeble human voice inaudible at a half a mile. Mark Twain, Life on the Mississippi. 'We were barely four years old,' schrijft de auteur, 'when our mother threw us over a bridge and into the water below. It was out of her frustration that she did not want' Ook de deur van hoofdstuk 4 heeft een citaat als sleutelgat, iets uit de Burlington Herald, daarin gepubliceerd op 27 januari 2005, meer dan een half jaar na crox 118, het eerste crox-project van CarianaCarianne dat het basisgegeven werd van het 3de crox-boek: 'After the Tsunami, mourners on the Thai island launched two new fishing boats as a first step toward rebuilding the devastated local fleet.' (Borders, bladzijde 45) Op bladzijde 51 tenslotte wordt geciteerd uit het werk van Kahlil Gibran, 'for life and death are one, even as the river and sea are one' en Marcel Proust: 'The real voyage of discovery consists not in seeking new landscapes, but in having new eyes.'

Aan de eerste crox-publicatie, de catalogus van En Passant, 25 instalramen (1991), worden drie citaten toegevoegd. Het eerste is van de oude Max Beckmann, toen hij als immigrant in de Verenigde Staten woonde: 'Personally, I think it is high time to put an end to all 'Isms' and to leave to the individual the decision wether a picture is beautiful, bad, or boring. Not with your ears shall you see but with your eyes.' Sluit aan bij het citaat uit het werk van Proust dat door Trevor Martin gebruikt wordt om zijn bijdrage aan het derde crox-boek te openen.
Het tweede komt uit Le Savon, een werk van Francis Ponge. Il y a beaucoup à dire à propos du savon. Exactement tout ce qu'il raconte de lui-même, lorsqu'on l'agace avec de l'eau, d'une certaine façon. Il semble aussitôt enclin à beaucoup dire. Qu'il le dise donc. Avec volubilité, avec enthousiasme. Jusqu'à disparaître par épuisement de son propre thème. Quand il a fini de la dire, il n'existe plus.
Het derde is van Paz, Octavio Paz, als ik het goed heb komt het uit De boog en de lier (Het gedicht. De poëtische openbaring. Poëzie en geschiedenis), een editie van Meulenhoff. 'We zwijgen niet, niet (...) omdat we niets te zeggen hebben, maar omdat we niet weten hoe we alles moeten zeggen wat we zouden willen zeggen. De menselijke stilte is een zwijgen, en daarom een impliciete communicatie, een latente betekenis." In zelfde catalogus citeert Lieven David uit teksten van Wassili Kandinski, Kasimir Malevich en Michael Ogilvy. Dat van Ogilvy komt, lees ik, uit een titelloos essay over marketing. David citeert het niet letterlijk, het is een van de hinkstapsprongen om, één bladzijde verderop, tot het eigenlijke motief te komen. 'In een oprisping van ijver,' lees ik, 'heeft de marketingdienst van de firma Popla becijferd dat de mens tijdens zijn levensduur gemiddeld anderhalf jaar op het toilet doorbrengt.'

JL 'Ik zou dit interview naar aanleiding van jouw tentoonstelling 'De helft van het werk' in Croxhapox willen beginnen met een citaat van Marcel Proust: "...te weten dat ieder van ons houdt die niet alle van dezefde morele grootte zijn..." Kan een kunstenaar zoals jij die werkt met verschillende personages zich herkennen in dit citaat van Proust?' Jeroen Laueryns, Een kind dat niet wil kiezen. Uit crox-boek nr 10 van Peter Morrens.

'Op de prachtige tekening is een citaat te lezen dat tot ieders verbeelding kan spreken: 'It was certain because of the distance.' D'hondt bewijst zo haar talent om met minimale middelen tot een subtiele inhoudelijke gelaagdheid te komen.' Luk Lambrecht, Intimiteit versus crash; 23 april 1999, De Morgen.

Crox-boek Nr 7, Waadruim : Legenda, van Nicolas Leus, opent met twee citaten: 'De leegte is het bevattende in het vat', van Martin Heidegger, en 'Bij de legendarische wedstrijd van Hamburg SV tegen FC Barcelona in het begin van de jaren zestig stootte hij van opwinding zijn theekopje om', over Martin Heidegger.

Een van de groepsleden van KAMP. KAMP neemt deel aan Basics 2 en Verzamelwoede en zorgt voor het startschot van Brainbox 2.
2008, crox 242. Een in situ project in coop met Sarah Dhont. Maakt sinds 2009 deel uit van het logistieke team.
2011. Ontwerp en uitvoering van het boekenmeubel. Eind 2011: Bestuurslid en medewerker web-team.
24 januari 2012: aangesteld als voorzitter ad interim.

En ge zijt algelijk ontroerd, daar hoog boven op de watertoren van aalst, want ge herinnert u het verhaal dat boon op de vooravond van zijn dood aan jeanneke, zijn vrouw, vroeg om dat plaatje nog eens te draaien, om met haar nog eens te dansen op zijn lijflied, this is my song van petula clark, dat lied waarvan de melodie eigenlijk van charlie chaplin is... en dat jeanneke zich achteraf afvroeg waarom hij dat toen per se wou doen, nog een laatste keer dansen, alsof hij zijn dood voorvoeld had. Ge staat daar op het kerkhof van Aalst bij het graf van Louis Paul Boon, Guido De Bruyn, crox-boek Nr 10 (2008), fragment blz. 46.

---> Boon
---> Brouwers

Zwartezusterstraat 1 - juli 1991. Hugo Claus wandelt in de Zwartezusterstraat. Op het gelijkvloers van huisnummer 1 hangen alle exemplaren van het Copy Art Project voor de ramen. De voorzitter van croxhapox vzw heeft zijn werktafel vlak voor het raam straatkant. Het raam staat op een kier. Claus houdt halt voor de gevel van Zwartezusterstraat 1, bekijkt de affiches en stapt vervolgens richting Oude Houtlei. Een half uur later komt de gevierde auteur opnieuw aanstappen. Dit keer heeft hij het gezelschap van een jongeman in donker kostuum. Beiden houden heel even halt voor de ramen van huisnummer 1.

Croxhapox, wat is dit? vraagt Claus aan de jonge kompaan. O, zo'n vereniging die lokale helden steunt zeker, antwoordt deze (in de zalen van het onbekende, een vloer aanvegen, ook).

1996. crox 51, Open Deuren.
1997. crox 70, Schilderkunst Hedendaags Belgisch.

The cloud is not if it is not what a man thinks or unconsciously experiences while watching it. The cloud consists of particles forming, whether or not in a choreographed constellation, an image that can or cannot be recognised and as such unfrees reflections.  (Johan De Wilde, Particles p.58)

crox 99, October 1999. crox 123, September 2004. Photography. crox 99, the show with works of the, at that time unknown, photographer Marc Coene is the last Aannemersstraat-solo under the artistic directorship of Hans van Heirseele. Coene's photos get their strength from the remarkable framing which turns them into fascinating and equivocal icons, emphasised by the stringent technical constraints he imposes upon his art.  He uses, for instance, a camera of type Agfa Isoly, a typical 50's product.  Those camera's (Isoly and Isola or Isolette) are common: the lens is usually of a redoubtful quality and results in significant loss of light, especially under bright circumstances. Light and brightness can hardly be adapted. Coene exploits these technical limitations to attain an almost abstract image quality. Less is more. The images obtain a dark poetics.Spurious exposures turn into monumentous moves. The photos acquire the imagery of Celan, recalling what has yet to come.

crox 123 (September 2004). A series of barite prints. /LAN/ and a series of recent colour prints. Perfomance: Those Metal Boys with their Metal Toys.

crox 202 (March 2007). Barite prints. Publication of crox book NR 6, LAN. Again a preformance of Those Metals Boys with their Metal Toys.

crox 118. MC starts documenting the crox-projects. End 2004 he joins the Algemene Ledenvergadering (Member Assembly). At the same time he designs the first version of the digital crox-encyclopedia and gradually includes a mass of images in it. Later on, he archives the loads of visual material, not just photos but also videos, at www.video.google.be and FlickR. Gradually develops into a forceful and diligent collaborator.

Participates in "Verzamelwoede" (2007, Abdij Maagdendale).

Joins the Board in Autum 2007 as treasurer. Coördinates, with Frips, the WHAT ABOUT CROXHAPOX project (crox 186), a  mailart call. The project actually happens between early July 2006 and end September 2007. At the end of 2007 the project is presented in the crox-space.
Coordinates a crox-television /video material of practically all projects/ at Google Video and You Tube.

Publication of croxcards 76, a Paris étude, and 77, the mongrel (2008).

Participates in Zennestraat 17a rue Zenne (May 2009), a coproduction with a.o. Secondroom, Fortlaan 17, Les Bains Connective and Constant VZW at a warehouse in Brussels. The crox-selection consists of: Johan De Wilde, Alda Snopek, Christophe Lezaire, Steffie Van Cauter, Julian Moran and Marc Coene.

1 November 2009: parttime employee of Croxhapox, responsible for documentation and archive, website maintainance and logistic support.

1999 crox 99, eerste solo project. Foto's. Een project in het souterrain van Aannemersstraat 54.
2004 April: MC begint de crox-projecten te documenteren, vrijwillige basis. Aanknopingspunt is BORDERS (crox 118), een project van CarianaCarianne. Publicatie van twee crox-cards.
September: tweede solo project. Op dat moment is de Lucas Munichstraatlocatie beperkt tot de smalle ruimte voorin waar later bar, media- en kubusruimte ondergebracht worden. MC digitaliseert een groot deel van het crox-archief en gaat, naast het documenteren van de projecten, ook meewerken aan de crox-site, op dat moment een product van CarianaCarianne.
2005 Medewerker documentatie en archief. Treedt toe tot de Algemene Ledenvergadering.
2006 Publicatie van crox-boek Nr 3, BORDERS van CarianaCarianne, een verslag van het gelijknamige project. Het gros van het beeldmateriaal wordt door MC aangeleverd. De digitalisering van het crox-archief komt in een hogere versnelling.
2007 Maart: derde solo project, dit keer in de grote zaal. Neemt deel aan Verzamelwoede, een project in Abdij Maagdedale (Oudenaarde). Publicatie van LAN, crox-boek Nr 6. Oktober: bestuurslid. Blijft in die functie tot november 2009.
2008 Publicatie van twee crox-cards, wat het totaal van MC-cards op 4 brengt.
2009 1 november: parttime werknemer. Documentatie, archief, website, boekhouding, werkvloer.

IMG_2245

Verzamelwoede - April 2007 (Abbey Maagdedale, Oudenaarde).

Mail art pieces from the private collection of Frips. See www.frips.be.
Ryosuke Cohen's work is a repetitive process. Stamps - which he collects thanks to a very extended network of mail art connections - are endlessly repeated in slight variations on sheets of A3 paper. They are quite colourfull collections covering over and over again the entire surface of the sheet. 
During his performances, the artist transforms larger versions of the same type of work into abstract portraits. 

ARMEE LEGER Januari 2006. Een Antwerps collectief. Bas Decaluwe, Christophe Engels, Thomas Campaert, Tim Van Ham en Wouter Feyaerts. Enkele van de groepsleden nemen deel aan beide edities van Basics 2.
BRAINBOX
Tijdelijk collectief van 3 of meer kunstenaars. Elk collectief realiseert één van de transformaties. De eerste editie (2006) groepeert zes collectieven, telkens een trio, de tweede editie (2008-2009) elf. Het eerste collectief is een kwintet, het 8ste een kwartet.
CUM Naamswijziging: Leo Gabin. Als CUM een project in 2010.
HAP Nemen deel aan beide versies van Basics 2 (2005-2006). Solo project in 2009.
KAMP Jelle Clarisse, Samir Boudia, Sarah Dhont, Sven Tassaert en Tuur Delodder. Nemen deel aan de tweede editie van Basics 2 en aan Verzamelwoede, telkens in Abdij Maagdedale, Oudenaarde. Eerste unit van de tweede editie van Brainbox (oktober 2008). Een provocatieve presentatie.
Op Sven na komen alle groepsleden van KAMP solo of duo in het programma aan bod. Samir Boudia in 2005, twee keer, een project in de zaal voorin en een instalraam, en in 2006 nog een keer, hij ontwerpt het standje voor de cultuurmarkt, de Caravanage. Tuur Delodder in 2005 met TANKGARAGE, een project in Zelzate. In de croxruimte komt een documentatiecentrumpje. Sarah Dhont en Jelle Clarisse in 2008 met een gezamenlijke presentatie.
MAILART JAIL TEAM Een mailart collectief van de gevangenis van Andenne. Ze gaan in op 'What about Croxhapox', een mail art call uit 2006.
THE GENTLEMEN'S GENTLEMEN Een tijdelijk collectief, onder leiding van Brian Getnick (US) en Noe Kidder (US), realiseert de uitvoering van het theaterproject The Gentlemen's Gentlemen (2008). De vrouwelijke hoofdrol is Marianne Vogt, een Duitse actrice die in Brussel woont. Robbert Goyvaerts neemt de mannelijke hoofdrol, Frank Merkx is de zaalwachter en toont zich van z'n beste kant als - wacht even, het is Robbert die het zwijn uithangt. Merkx is zaalwachter. Het grijze jasje staat gegoten. Hij veegt de vloer. Daarbovenop zijn er nog een half dozijn acteurs, van divers pluimage, Estee Pierce en Heidi Steffes, die een bed & breakfast runt in Brugge, en zij die in New York de videofragmenten voorbereid hadden, Jeff Harms, Katie Fitzgerald, Eura Chun, Vanessa Valladares, Yumiko Takagi en Noah Wadden. Aan het eind is er ook een moment met publieksparticipatie. Alles wordt gefilmd. Tweede episode van het project is The Gentlemen's Gentlemen Movie.
toonmoment Collectieve presentatie van studenten, bachelor of masters, van KASK en/of Sint-Lucas Gent. Een collectief moment van de Beeldhouwklas in 2009. Twee keer een opeenvolgend collectief van studenten Schilderkunst van KASK en Gent Sint-Lucas, in 2009 en in 2010. Eindejaarspresentaties van diverse afdelingen.
WELD Een duo: Jan Wiels en Vincent de Roder. Het crox-project
(2006) is de eerste gezamenlijke presentatie. Ze maken deel uit van de
8ste unit van de tweede editie van Brainbox.
WORST Vaerst in het Deens. Deens theater- en performance collectief. TVF art doc cinema.

Opening speech crox 53. The team (actually Hans,
Kristel and Frank) already decided (see working meeting 8 August 1995) to give
the opening speeches a more experimental format. For crox 53 (Gosbert Adler, October
1996) Hans van Heirseele manufactures a speech consisting of a tape recording
and two superposed layers of text. The tape (a) is recorded in the atelier in
the garden where a grand piano was available (the instrument was later moved to
the loft of Michaël Borremans): prepared piano/ wooden objects on strings
inside piano. A part of the spoken text also ends up on tape (b). The body of
the oration properly is given by Hans van Heirseele (c). The speech: (a)/ (c) Do
we have a communication problem? We have a huge communication problem. It is
truly devastating. A communication problem the size of an all but sunken  Titanic is what the contemporary art scene has
to struggle with. This even doesn’t come as a surprise. Critics and
commentators excel in intellectualistic pep talk. One should only read the
brochures of Chambres d'Amis or the catalogues of Jan Vercruysse, or look at
what Cassiman says about De Cordier. Farmers’ bollocks, dude, sheer pep talk. Is
it reasonable to talk about ‘an alternative to save the autonomy of the
individual' if one only has to discuss a legume? / (a)/ (c) Re the core of the
problem: contemporary art, if it still deserves that name, has been
communicating ardently but no one has been notified. / (a)/ (c) Could it be
that a difference in levels is the cause? It could be. It’s imaginable. Levels
differ. Some things are high, because they are on a height, some things are low, because they are situated
lowly, and to bridge the difference one has to clamber for a day, at least, even
a week doesn’t suffice. A hearty discussion? Is that what they want? A hearty
conversation about hearty subjects? But that is not the heart of the matter;
about important issues one has to communicate in important ways. Minor issues
are dismissed as anecdotic./
(b) there are so many layers hidden beneath the stylistically often remarkable
interestingness of contemporary art objects / who could be capable to keep
track of all this/ the insider/ the insider/ could the insider be capable/ to/ without mental acrobatics/ if you please/ because
what are we talking about/ would only the insider know what they are talking
about/ is he she able to extract from the howling of meanings one meaning that
makes a difference / we want to know/ someone will tell us what it means/ (a)/
(c) To comprehend is not necessarily equal to the ability to speak. On
principle, it isn’t really necessary to have a grasp of what one is speaking
about. Speaking about things one has none or little understanding of obviously
requires / (a)/ (c) Another issue: great artist number whatever is being taxed
on his market value in the first place. Another issue: great artist number
so-and-so is being taxed on his market value in the first place. Another issue:
great artist number whatever is in the first place. With a lot of pomp and
circumstance. The effort accomplished is historical. And the average Belgian is
always in for market value; at least if that value isn’t as criminally and megalomaniacally
out of proportion that it seems to be exempt from all even remotely accepted standards of
correlation to the effort made. / (a)/ (c) and the consequences, they were
utterly disregarded/ (a)/ (c) People will suggest that an artist relies on a
small circle of intimates. What we are talking about, between the lines, needs
no comment. / (a)/ (c) Offside! They point the finger at the audience./ (a)/
(c) Or should we say that this lack of communication is a matter of all times?
The audience, the public, das Publicum, five cow’s arses and a dog, that’s about the
definite summum./ (a)/ (c) It is said that the audience doesn’t understand what
the artist is talking about. What if the audience knows exactly what the artist
is talking about? There is the insiders, and there is the audience, and there
is the cocoon of the art scene. What if the audience suddenly knows what the
artist is talking about?/ (a)/ (c) Or, is the audience still under the spell of
the 4th etude of Chopin. Or episode 4000 of/ (a)/ (c) Obviously, one could as
well hold that the faulty communication originates more deeply. In my opinion, there is
nothing in those depths./ (a)/ (c) There is a ballroom full of niceties and if
you’re finished marvelling at those / (b) in that respect there are the things
that be/ and there are the things that aren’t/ so to speak/ /indeed, why not to
say so / / there are the things that be / and there are the things that aren’t /
they have always been/ and they have always been not/ /they have been/ and they
have been not/ /being an artist concerns the re-realisation of those things,/ things
that always have been/ things that never were / (a)/ (c) and an answer that
moreover ought to ought to be right. 

> Seitnabes Dranoc

1991-1999
Peter Vermeersch solo (klarinet) September 1991. Openingsavond EN PASSANT. Locatie: Backstage.
Fabian Schweiger solo (g) Oktober 1995. Openingsavond crox 31, Antje Dorn.
Raymond Van Het Groenewoud solo 28 februari 1996. Openingsavond crox 40, Dirk Peers/Ruth Mentens.
Kamikaze (duo: Bart Maris & F. Wauters) 31 maart 1996. Openingsavond crox 43, Thomas Broadbent.
Beh Palme (Burkina Fasso/percussie) 25 mei 1996. Openingsavond crox 47, Juliane Heise.
Kamikaze Quartet 28 september 1996. Openingsavond Open Deuren (buurtproject). Concert in het souterrain van Aannemersstraat 54.
MEMAZ free jazz 15 november 1996. Openingsavond crox 55, Sjoerd Paridaen. Uit MEMAZ komt later MOKER voort.
MEMAZ 4 april 1997. Openingsavond crox 61, Thomas Hauser.
Piece for typewriter, tin can, flute and voices 16 mei 1997. van, solo performance. Openingsavond crox 64, Dre Devens.
Dead Marcel (featuring Michaël Borremans (g) & Nicolas Leus (s)) 13 juni 1997. Openingsavond crox 67, Debra Pearlman.
van (vocals) & Michaël Borremans (g) 5 september 1997. Openingsavond crox 68, Amy Kephart. Het repertoire is beperkt tot één song: Jetlag Girls. Het eerste concert van The Singing Painters (met Merlyn Paridaen aan het drumstel) volgt enkele maanden later.
Daniël Volckaerts (g) 10 oktober 1997. Openingsavond crox 69, Herman Baeten.
The Singing Painters (trio: van (vocals), Michaël Borremans (g), Merlyn Paridaen (d)) 14 februari 1998. Openingsavond crox 72, Kamagurka.
MEMAZ quintet 4 april 1998. Openingsavond crox 75/76, Ward Denys en Jan De Cock.
The Singing Painters unplugged (trio) 25 april 1998. Openingsavond crox 77, Dianna Frid.
The Singing Painters (quartet: Andreas Brehmer (DE) extra on bass guitar) 5 september 1998. Openingsavond crox 82/83, Holger Nickish & Hartwig Schwarz.
The Mean Team (trio) 4 december 1998. Openingsavond crox 86/87, Thomas Huyghe & Zjuul Devens.
Juan Carlos de Madrid 'el Brujo' (ES) flamenco Februari 1999. Openingsavond crox 90/91, Luc Dondeyne & Heike Kati Barath.
MEMAZ trio Maart 1999. Openingsavond crox 92/93, Marc Maet & Michaël Borremans.
Trio Quattro (met Guido De Bruyn bariton) April 1999. Openingsavond crox 94/95, Wendy Hirschberg & Lieve D'hondt.
Daniël Volckaerts solo (g) Mei 1999. Openingsavond crox 96, Philippe Vandenberg & Sylvain Cosijns.
Larry Krone (US) (ukelele, vocals) Juni 1999. Openingsavond crox 97/98, Larry Krone & Johan De Wilde.

2004-2005
Optreden van Those Metal Boys With Their Metal Toys tijdens de openingsavond van het tweede solo project van Marc Coene, begin september 2004.
Drie concerten van The Singing Painters, het gebruikelijke repertoire in een wisselende bezetting. Tijdens de openingsavond van crox 118 (CarianaCarianne, april 2004) treedt het oorspronkelijke trio aan, voor de finissage van hetzelfde project aangevuld met Michaël De Schrijver (akkordeon) en Adriaan Verwée (basklarinet) en zonder Merlyn. Begin januari 2005 opnieuw zonder Merlyn tijdens de openingsavond van Sacre Bordel, het eerste crox-project van Joris Van der Borght. Een meedogenloos gewelddadig en experimenteel concertje. De jonge drummer die Merlyn vervangt, wordt na verloop van tijd in allerijl afgevoerd waarna gitaar en vocals voor een onuitgebrachte tweede set zorgen. Nog zo'n gewelddadig concertje is dat van Final Detail tijdens de openingsavond van de projecten van Samir Boudia en Anja Hellebaut (mei 2005), een groepje met onder andere Kwinten Vercaemer (bass) die later gedurende enige tijd de The Singing Painters vervoegt en eind november 2007 mee op het podium staat tijdens de SMAK-jubileumavond van De Vereniging, in een T-dansant zaaltje waar naar verluidt ooit Frank Zappa aantrad.
Guy Couckhuyt verzorgt een fel gesmaakte deejay set met free jazz en experimentele muziek tijdens de ouverture van BASICS2, juni 2005.
2006
Bateau Lavoir Trio uit Antwerpen voor de verandering in een duo-versie met Thomas Campaert aan het drumstel. Opening van het Armée Leger project - vrijdag 13 januari.
Bart Maris Solo tijdens de opening van het project van o.a. Nicolas Leus, 18 februari.
The Singing Painters Optreden in de corridor tijdens de opening van de projecten van Thomas Broadbent, Annelies Slabbynck en Maud Vande Veire. 18 maart. Enige tijd later een coherente en stomende set in Lier tijdens de opening van een van de Heilige Geest projecten van VZW Voorkamer. Het trio is dit keer aangevuld met Jamez Dabramski Dean.
Deejay set van Guy Couckhuyt in Abdij Maagdedale (Oudenaarde) - zondag 23 april, opening van de BASICS 2 sequel.
Els Mondelaers solo tijdens de opening van de projecten van o.a. Tinka Pittoors - 15 april. Ze zingt een door Tinka geschreven tekst.
Optreden van een trio (studenten Kunstencampus Ottogracht) tijdens de eerste avond van het Buurt-in-Beeld project. Vrijdag 5 mei.
Steffie Van Cauter Solo optreden (akkordeon & zang) tijdens opening van de projecten van Johan De Wilde, Lucia Penninckx en Alda Snopek. Simultaan in de tot filmkamer omgebouwde stockruimte een compositie van Vincent D'hondt, score bij de tot de film gemonteerde diaprojectie van Johan De Wilde. 21 mei 2006.
The Singing Painters Opnieuw met Jamez Dabramski Dean als 4de man, dit keer tijdens de opening van de projecten van CarianaCarianne, Debra Tolchinsky en Dianna Frid. 17 juni.
Optreden van Adriaan Verwée in een onuitgegeven trio (basklarinet, tuba, drums) tijdens de opening van Norma Markley's project - 9 september.
Optreden van Adriaan Verwée en o.a. Kristof Rosseeuw (bass), voor de gelegenheid als Braindeath, tijdens de opening van brainbox unit 1 - 16 september.
Optreden van The Hong Kong Dong.
Optreden van St!cker (Bert en Sofie) en Zilke - opening van de vierde brainbox unit. Afsluitend een korte noise performance van Jamez Dabramski Dean - 28 oktober.
Deejay set van o.a. Thomas Huyghe tijdens Sifon, door unit 1 geredigeerde coda van het Brainbox project - 9 december.
2007
Bart Maris Solo. Openingsavond van Five Collaborations, 13 januari; tweede concert tijdens de finissage (en ontmanteling van o.a. the 9/11 Lego Party) zondag 4 februari.
Those Metal Boys With Their Metal Toys Derde crox-optreden, ook dit keer tijdens de openingsactiviteit van een solo project van Marc Coene. Het andere project is een werk van Wouter Decorte. 24 februari.

Els Mondelaers The Medium, opera voor mezzosopraan van de Britse componist Peter Maxwell Davies. Regie: Anna Vasic. Donderdag 29 en zaterdag 31 maart.
James Berlin
Groepje uit Antwerpen; treedt aan tijdens Let's Play Fashion van Pony Attack. Solide sound, rammen er op los als een bende metal knuffels.
St!cker
van Bert en Sofie. Tweede optreden in crox. Verzorgen het tweede deel van de shift met o.a. collecties van Zoot en Ambrosius Smets/Sien Rylant, die de begeerde trofee in de wacht slepen. Zaterdag 14 april.

Peter Debaveye Napolitaanse liederen. Opening crox 211-212-213 - 28 april.
De Historiaens. Brusselse noise-formatie. Set tijdens de opening van de projecten van Antoina Van Impe, Marie Zolamian en Yannick Franck, 26 mei. Tijdens de finnisage, zondag 17 juni, treedt Yannick Franck aan (solo).
Oorverdovende set van Jamez Dambramski en Kwinten Vercaemer tijdens de openingsavond van KASKweek 2007. Eind juni.
Office TAMURAJ Emo-synth, performance 2/5. 20 juli.
Dirty Sweet Frans duo (Lille). Concerteren bovenop het platform van de kubus tijdens de openingsavond van het solo project van Stijn Van Dorpe en het Frans-Belgische groepsproject, 1 september. Lounge jazz.
John Wiese (US) - Ryan Jewel (US) - DUIVVV (B). Gastproductie Smeraldina Rima. Experimental, noise & drone. 26 september.
Bart Maris Solo optreden en opnamesessie tijdens de openingsavond van het projecten van Adriaan Verwée, David Smithson, Christophe Lezaire, Pieter De Clercq, Julian Moran en Emmanuel Depoorter. 13 oktober.
Deejay set, dit keer met vinyl, van Guy Couckhuyt. Free jazz & experimentele muziek. 24 november.
2008
Nico Sall (soundscape), Zeger Vandenbussche (sax), Younes Zarhoni (vocals, percussie) en Lode Vercamp (cello). 19 januari.
Jack Rose (US) & Hush Arbors (GB) Gastproductie (K-RAA-K)3. 24 maart.
ZWERM (kwartet elektrische gitaar) Op het programme twee composities, Toovvivvor van Larry Polansky (US) en de première van Icons of Pleasure van Nico Sall. 28 maart.
JOHN CAGE & FLUXUS Project van Jonas Scheys i.s.m. studenten van Beeld & Installatie (Kask). Werk van John Cage, George Brecht, Robert Bozzi, Emmet Williams, Godfried-Willem Raes en La Monte Young. 1 april. Performers: Ruben Cooman, Thomas De Schepper, Lien Van Steendam, Liesl Stevens, Clara Vanden Bremt, Jonas Scheys.
Silvest Anfang II Optreden tijdens de openingsavond van The Gentlemen's Gentlemen. 5 april.
Steffie Van Cauter Solo (vocals, akkordeon) op zondag 29 juni tijdens de eerste editie van de Gentse Matinee.
Monkey Arse Vernissage CCNOA gastproductie, 30 augustus. Tilman on sax.
Cian Nugent (IR) & Glenn Jones (US) Gastproductie Smeraldina Rima. 4 september.
Jorge Boehringer (US) & Yannick Franck Gastproductie Smeraldina Rima. 12 september.
John Watts (GB) MORETHANMUSIC. Concert op zaterdag 4 oktober.
HATI (Poland) & Robert Curgenven (Aus) 3 oktober 2008.
Ian Nagoski (US), Paul Metzger (US) & Ignatz (B) Gastproductie KRAAK. 22 oktober.
Karina ESP (GB) & Annelies Monseré Gastproductie MORCtapes. 4 november.
Peter Debaveye Vernissage op zaterdag 22 november. Franse liederen.
TAGMOSIS 2008 AT CROXHAPOX Festivalweekend. Performance, video & concerten. 19 & 20 december. Een productie van Mahaworks & Ciclic Records.
2009
Jempie Vermeulen Vernissage zaterdag 7 februari. Diatonische akkordeon.
Merlyn Paridaen & Friends Vernissage zaterdag 7 februari. Jazz.
Robert Curgenven (Au) Woensdag 11 februari.
Merlyn Paridaen & Friends Zaterdag 28 februari. Jazz.
Nadja (CAN) Gastproductie. Vrijdag 27 maart.
Eli Van De Vondel solo Boekvoorstelling van crox-boek 12, Majuskel van Johan Joos, in het Poëziecentrum.
Lexie Mountain Boys Gastproductie KRAAK. Dinsdag 28 april.
Boduf Songs & To Kill A Petty Bourgeosie Gastproductie MORCtapes. Woensdag 6 mei.
Marieke Berendsen & Bruno Nelissen MR PROBE SAYS HELLO Concertavond, 17 oktober.
Hans Beckers 'T ZWARTETAFELTJECONCERT 7 november, 14 november, 15 november, 20 november en 21 november.
Filmjölk (B), Drekka (US) & The Library Tapes (SE) Gastproductie MORCtapes. Maandag 23 november.
Dirk Veulemans KIKKERS IN EEN RIJSTVELD Klankinstallatie. Finissage zondag 20 december.
2010
Dor (BE) Zaterdag 13 maart.
Nan-Ping Chang, Kristof Lauwers & Yvan Vander Sanden C0DE concert/video/performance. 4 juni. Coproductie croxhapox-Stichting Logos.
Hans Beckers 'T ZWARTETAFELTJECONCERT 22 juni. Locatie: Auditorium KASK.
The Singing Painters Laura van (keyboards, vocals), Merlyn Paridaen (d), Adriaan Verwée (basklarinet) & Nan-Ping Chang (guzhung, vocals). Gent Matinees, 27 juni.
2011
Peter Jacquemyn (b), Bart Maris (t), Merlyn Paridaen (d) 29 januari. Free jazz.
Marieke Berendsen (NL) Viool solo. Improvicaties op het werk van Hallveig Agustsdottir. Zondag 13 februari.
Hallveig Agustsdottir (IS) PIANO SKETCHES. Prepared piano. Performance with live drawing. Zondag 20 februari.
Sachiko & Rinji (JP) Zondag 27 maart. Coproductie croxhapox/Smeraldina-Rima.
Steve Gunn (US) Donderdag 7 april. Gastproductie Smeraldina-Rima.
Every Bolt Rumbling (Arvind Ganga) Donderdag 7 april.
City Hands (NL) Donderdag 7 april.
Johanna Van Overmeir, Hans Beckers & Peter Van Houwelingen (NL) HIF Woensdag 27 en zaterdag 30 april. Performance, concert & live drawing.
Lieven Van de Putte (d) Zaterdag 7 mei. Drumperformance in de kubusruimte tijdens openingsavond.
Jozef van Wissem (NL) & Jeanne Madic (FR/Vanishing Twins) Luit, orgel, vocals. Zaterdag 28 mei. Gastproductie: Smeraldina-Rima.
Talibam! (US) Donderdag 2 juni. Europese tournée van het New Yorkse duo. Na het cabareteske crox-concert gaat het naar Rotterdam, Den Haag, Brussel, Parijs, Genève, Besançon en Netwerk Aalst.
Peter Jacquemyn (b), Tatsuya Nakatani (percussie), Pierre-Michel Zalewski (vocals), Maja Jantar (vocals) Zaterdag 4 juni.
Tuba libre: Jan Pillaert, Marco Loprieno, Jan Coulon LE LAB Nr 3, een project van Mahaworks & Danscamdanse. Donderdag 7 juli.
Trio Train: Jan Pillaert, Marco Loprieno, Lazara Rosell Albear LE LAB Nr 3.
Antoine Prawerman, Audrey Lauro, Pierre Michel Zalewski, Patricia Luggo LE LAB Nr 3.
Sand Circles (SE) Concertavond Smeraldina-Rima. Zaterdag 13 augustus.
Quilts (SE) Zaterdag 13 augustus.
Yannick Franck (BE) Zaterdag 13 augustus.
SONARA MACHINA: Hans Beckers & Bart Maris Zaterdag 3 september.
SONARA MACHINA: Hans Beckers solo Vrijdag 9 & vrijdag 16 september.
Karina ESP (UK) Concertavond Morctapes. Donderdag 15 september.
Plinth (UK) Donderdag 15 september.
Talibam! (US) Dinsdag 27 september.
2012
Thverfellshorn (UK) Concertavond Morctapes. Woensdag 1 februari.
Library Tapes (SE) Woensdag 1 februari.
The Singing Painters / Merlyn Paridaen (d), Laura van (vocals, keyboards) Zondag 18 maart.
Nate Wooley (US) Concertavond Smeraldina-Rima. Zondag 25 maart.
Sheldon Siegel (BE) Zondag 25 maart.
Michael Vorfeld (DE) Vrijdag 20 april. Tijdens TREKVOGELS, een interdisciplinair project van Rebecca Lenaerts.
Echo Beatty (BE) Zaterdag 21 april.
Yannick Franck & Esther Venrooy Vrijdag 27 april. Finissage van TREKVOGELS.
Aki Onda (JP/US) Concertavond Smeraldina-Rima. Vrijdag 25 mei.
Jeroen Vandesande & Pauwel De Buck Vrijdag 25 mei.
Lazara Rosell Albear (d, mini trumpet), Audrey Lauro (FR) Zaterdag 1 september. Openingsavond van Kantelingen, gastcurator: Caroline Vincart.
Heleen Van Haegenborgh (inside piano) & Kristof Roseeuw (double bass) Zaterdag 15 september. Kantelingen.
SPANDAU: Younes Zarhoni (voice) & Nico Sall (electronics) Kantelingen. Special night at La Resistenza. Zaterdag 15 september.
Rodrigo Fuentealba (g), Teun Verbruggen (d), Bert Docks (g) 30 september. Finissage Kantelingen.
2013
Peter Jacquemyn & Gunda Gottschalk (DE) Zondag 24 maart.
Peter Jacquemyn & Jan Pillaert Zondag 28 april. Boekvoorstelling crox-boek 17, Anoniem eerste helft 21ste eeuw. Coproductie het balanseer/croxhapox/MER. Locatie: S.M.A.K.
Talibam! (US) Zondag 19 mei. Talibam! performs 20th century experimental graphic scores and modern composition.
Beyt Al Tapes (BE) Zondag 19 mei.
Hellvete (BE) Concertavond Morctapes. Dinsdag 4 juni.
Lichens (US) Dinsdag 4 juni.
Angela Nina Yeowell (US) BLACK SUN JAMBOREE Zondag 7 juli, van 14u tot 22u. Een project van Idiosyncratics.
Athlete's Foot: Max Plank & Rutgher Verstoppen BLACK SUN JAMBOREE
Rinus Van Alebeek (NL) BLACK SUN JAMBOREE
Piume di Pavone: Phil Maggi & Phil Cavaleri BLACK SUN JAMBOREE
Räum: Orphan Swords BLACK SUN JAMBOREE
Sheldon Siegel (BE) Release van het Throw Down Your Hammer And Sing & Sheldon Siegel vinyl in het Londense Cafe OTO. Vrijdag 4 oktober. Coproductie Smeraldina-Rima/croxhapox.
Jason Roebke (US) Concertavond Smeraldina-Rima. Zondag 17 november.
Sheldon Siegel (BE) Zondag 17 november.
2014
The Singing Painters: Merlyn Paridaen (d), Laura van (vocals, keyboards)
Zaterdag 22 maart. Merlyn en Laura duiken in The Songbook. Eind maart volgt een optreden in Brussel, in de Monk. Het crox-concert is op Youtube te vinden.
Jeff Gburek (US/PO) & Marjorie van Halteren (US) Vrijdag 4 april.
Peter Jacquemyn (b, voc), Alison Blunt (UK/violin), Audrey Lauro (FR/sax), Mark Sanders (UK/d) 21 november.
2015
Klaas Vanhee (g), Kaya Jakovits (voc, g) & Dimitri (g, voc) Zaterdag 28 maart. Hadden nog geen naam voor het groepje en wagen zich voor het crox-concert aan Temporary Performance Degradation.
Peter Jacquemyn (bass, voc), Audrey Lauro (sax), Mark Sanders (d), Alison Blunt (violin). Zaterdag 12 december.
2016
BLURT (UK). Ted Milton (voc, sax), Steve Eagles (g), David Ayleward (d). Woensdag 10 februari. Beneath Discordant Skies.
Peter Jacquemyn (bass, voc) & Stefan Prins (laptop). Zaterdag 13 februari.
Yannick Franck. Zaterdag 7 mei.

Remember To Forget The Congo

'For almost a decade I had cherised the idea of doing a show about the Congo in Belgium. This was not out of some specific personal interest or social calling, only the Belgian Congo seems to be the quintessence of imperialist hell. I write in the present tense because although Belgium has ceased its claim over its former colony, the effects of its rule continue to ravage the country in the most imponderably violent fashion. This is so for most formerly imperialised nations, but especially for those in Africa. The site of Conrad’s Heart of Darkness, since it became a personal acquisition of Leopold II of Belgium in 1885, Congo’s fortunes have been but differing degrees of horror.' Fragment from Remember To Forget The Congo by Adam Geczy, The Monthly, July 2010.

-->Predemocratische Republiek

> Turner

2009, Zennestraat 17 rue Senne. Constant VZW is located at the upper floor at the back of the building. High windows offer a splendid view of the neighbourhood along the canal. Croxhapox has its rooms at the first floor, next to Fortlaan 17, and on the third, next to Constant VZW.

Gouden strop en stoel. 1979. Crox 505, kosmografia, een project van Edwin Carels. Perstekst (EC):
Copers creëert zijn werken op strategische wijze. Gebruiksvoorwerpen
worden geselecteerd op basis van hun specifieke verwachtingspatroon, dat
meteen weer wordt doorprikt. De materiaalkeuze insinueert vaak gevaar,
maar het resultaat is doorgaans een vervreemdend en romantisch beeld. De
morbide aanblik van een strop staat in schril contrast met de barokke
materialen en kleuren die hiervoor werden ingezet. Humor en ironie
versmelten met een zekere dramatiek en houden elkaar in evenwicht.
http://ensembles.mhka.be/items/3951

14 juni 2013, jury Master MMV kask. Presentatie in de backspace. Op dat moment reeds gedurende langere tijd een van de drijvende krachten achter TOESTAND, een Brussels team, niet uitdrukkelijk op hoogstaande of relevante kunstproductie gefocust maar, zoals op hun site te vinden is, op 'reactivering van leegstaande of vergeten gebouwen, terreinen en (publieke) ruimten'. Methodiek: van die vergeten publieke ruimten tijdelijke en autonoom functionerende socio-culturele centra maken. Cruciaal: dialoog, creatie, autonomie, actie.
Quote uit Toestand, een MMV-project van Niels: 'If rulers refuse to consider poems as crimes, then someone must commit crimes that serve the function of poetry, or texts that possess the resonance of terrorism.' Hakim Bey (from a google document)
Een naar ik mij herinner bijzonder interessant jurymoment, vooral dankzij het net zo assertieve als weerloze uitgangspunt van Niels die de jury een afstudeerproject in de maag splitst dat voor de verandering niet alleen op art gefocust is maar op een autonoom en professioneel traject van grootstedelijke acties.

EN PASSANT 1991. Straatproject in de Gentse binnenstad. Het Limburgse Il Ventuno vult een deel van het programma in. Frank Van den Eeckhout dirigeert het project.

GENT-BEJING. Roel Jacobs 2009. Een samenwerking met Circa (Gent) en De Garage (Mechelen).

KASK. Hans Beckers, Oratio Subita - Sonare Motus, crox-boek nr 15, 2010.

LOGOS. Nan-Ping Chang, Kristof Lauwers & Yvan Vander Sanden. c0de. 2010.

SCHRATTENBERG NUCLEUS - SCHRATTENBERG PERIFERIE. Instalramen op locatie Onderstraat 26, 9000 Gent. Een samenwerking met Experimental Intermedia. 1997.

TAGMOSIS. 2008, 2009. Een samenwerking met Mahaworks en Ciclic Records.

TEMPORARY CITY BERLIN
2009. Het project - een samenwerkingsverband van Flachland Kunstverein, Lokaal 01 en Croxhapox op locatie in Berlijn. Kunstenaars, o.a.: Ada Van Hoorebeke, Anton Cotteleer, Sarah Westphal, Kathrin Pacvlac, Nele Tas, Nicolas Leus en Stijn Van Dorpe.

VERZAMELWOEDE Een coproductie van K.O.R.N.E.L.I.A. en Croxhapox in Abdij Maagdendale (Oudenaarde), in het kader van Erfgoeddag 2007. Een jaar eerder was er op zelfde locatie een tweede editie van het merkwaardige BASICS project, een sequel waaraan 90 kunstenaars deelnamen.

VINYL
2009. Een coproductie van MER en Croxhapox. Het eerste vinyl combineert werk van Johan De Wilde en de Japanse performer Sachiko.

ZENNE 17 BRUSSEL
2009. Een project in Brussel. De locatie is een oud laboratorium in de Zennestraat. Aan het project nemen twee organisaties uit het Gentse deel, Croxhapox en Fortlaan 17 (Ischa is een van de initiatiefnemers), en een rits Brusselse initiatieven: Q-O2, Komplot, Constant vzw, Josworld, Bains Connective, Secondroom. Via Croxhapox komen ook Mahaworks van de Cubaanse performer Lazara Rossell Albear, Ciclic Records van Eli Van de Vondel en het Art Archive van Svend Thomsen in het project terecht.
De eerste episode is van 24 april tot eind mei 2009. In de croxruimte(s) werk van Alda Snopek, Christophe Lezaire, Johan De Wilde, Julian Moran, Marc Coene en Steffie Van Cauter.
De tweede episode is oktober 2009. In de croxruimte(s) werk van Bart Lodewijks, Dirk Zoete, Mil Ceulemans, Nicolas Leus, Oana Cosug, Stijn Van Dorpe en Thomas Bogaert.

Toen CROXHAPOX in april 1991 dakloos werd en niet onmiddellijk een nieuwe tentoonstellingsruimte kon betrekken ontstond de idee om de naam CROXHAPOX, inmiddels via fotocopie-affiches een vertrouwde aanwezigheid in het straatbeeld geworden, in het gezichtsveld te houden. Er werd een affiche-campagne op touw gezet waarbij, vanaf medio mei en zestien weken lang, om de week een nieuwe affiche gemaakt, gefotocopieerd en verspreid werd. Het was de zeventiende CROXHAPOX-tentoonstelling, vandaar de titel CROX 17. (Voorwoord verzamelmap; tekst Frank Van den Eeckhout).

Copy Art Een knipsel uit de Streekkrant,1991 of 1992:(1)
Je kan kunst natuurlijk beperken tot alles wat met een verfborstel gemaakt is en netjes ingekaderd aan een muur hangt. Hedendaagse kunst is natuurlijk anders. Op A3 formaat bijvoorbeeld, in kleur of zwart-wit en gemaakt met een fotocopieermachine. Kunstenaars knutselen affiches in elkaar en Croxhapox hangt ze oneerbiedig met 4 stukjes kleefband aan vele vensters.(2) De straat wordt een galerij, de copie wordt origineel. Zestien kunstenaars werken mee aan de eerste jaargang en zorgen ervoor dat op een 30-tal plaatsen(3) om de 3 weken een gecopieerd origineel kunstwerk(4) aan het venster hangt. Wil je weten wie, waar, wanneer te zien is, kan je terecht bij Croxhapox, tel. 09/20.42.65 (MDM)

(1) Naast zwartwit wordt ook nog kleur vermeldt, wat aangeeft dat het om de 2de editie uit 1992 gaat.
(2) Wat met oneerbiedig bedoeld wordt: elke copy art komt op een veilige locatie te hangen (niet in de straten zelf), achter een ruit, in sommige gevallen niet aan de straatzijde maar in het gebouw (Studio Skoop bijvoorbeeld), afgewerkt met een A2 karton (gesponsord door Lesaffre als ik het goed heb), wat voor een neutrale frame zorgt en onderaan rechts (niet op de copy art zelf) voorzien van wat nuttige informatie: naam en nationaliteit van de kunstenaar en etcetera.
(3) Eind januari 1992 begint het met 30 vaste locaties. Enkele maanden later zijn het er 80 geworden.
(4) (MDM) suggereert dat het om fotokopies van originele kunstwerken gaat. Nuance: de fotokopies zelf zijn het origineel. Dat is in elk geval zo met de tweede en derde editie van het copy art project.

Aan die eerste editie van het Copy Art project namen 16 kunstenaars deel: (chronologisch) Sjoerd Paridaen, Luc Gobijn, Frank Van den Eeckhout, Hans van Heirseele, Michaël Borremans, Annick De Zutter, Xavier Debeerst, Ignace De Vos, Wouter Cox, Jürgen O. Olbrich, Johan Casteels, Ivan Adriaens, Stef Van Akoleyen, Way of Life, Guido De Bruyn en Edwin Carels.

Augustus 1991 (dagboeknotitie, fragment): Hoek veldstraat. De intendant van een of andere winkelketen geeft instructies aan een gepensioneerde Rigoletti: alle affiches weg! De plek bulkt van de crox-affiches. De bejaarde man, die de affiches weghalen moet, staat erbij alsof hij toch eerst een koffie gebruiken kan.

De tweede (en betere) editie van het Copy Art project volgt eind 1991 en duurt tot eind 1992. Er zijn nogal wat verschilpunten. Voor de 2de editie wordt resoluut voor copy ar' geopteerd. De contactpersoon is Sjoerd Paridaen, die eerder al Jurgen O. Olbrich had aangebracht. Alle contacten verlopen dit keer via Olbrich. Hij is het die de Duitse, Amerikaanse en Hongaarse kunstenaars aanbrengt. Terwijl de werken tijdens editie 1 nog lukraak in het Gentse straatbeeld worden aangebracht, wat voor problemen zorgt (regen, vandalisme, plakbendes, enzovoort), opteert het crox-team dit keer voor beschermde locaties. De copy arts worden over het stadscentrum verspreid (per kunstenaar zijn het er telkens 25), maar niet alle worden vervangen: van elke bijdrage blijven er telkens weer enkele in het straatbeeld aanwezig. Wat vanaf april 1992 uitdeint tot een groots totaalproject; op plusminus 100 locaties zijn dan de werken van 11 kunstenaars in het Gentse straatbeeld aanwezig. Participanten: Maria Blondeel, Jurgen O. Olbrich (D), Hans van Heirseele, Dardai Szusza (Hun), Istvan Tenke (Hun), Michael Winkler (USA), Hartmut Graf (D), Franz John (D), Wolfgang Hainke (D), Peter Krabbe (D), Ervin Szubori (Hun).

De derde editie van het Copy Art project (lente 1992) is een solo-project van Hans van Heirseele.

In een voorwoord van de catalogus van het En Passant project uit 1991, verwijst Hugo De Boom naar de eerste editie van het Copy Art project: 'De stad zelf, aldus Baudrillard, is al lang geen productie-eenheid meer, maar een zeer ingewikkeld conglomeraat van tekensystemen die elkaar aanvullen, tegenwerken en wederzijds beïnvloeden.Een veelhoek van tekens, media en codes. Een warwinkel.Alleen in een dergelijke constellatie - als de echte produktie in het stadsbeeld werd vervangen door media gericht op assimilatie van tekens - is een project als 'En Passant' mogelijk en zinvol.Hetzelfde geldt trouwens voor een vorig project waarbij affiches in de stad werden opgehangen.'

crox 349-3, residence from 14 till 21 January 2011. Residences at the same time by Machteld Rullens (NL) and Kylian Van der Have.

1998. Triptych. crox 78, photo project with works by Marc De Clercq, Anja Hellebaut and Frederik Cornelis.

een chronologische selectie uit de crox-correspondentie

 

1996


Thomas Böing: 13 december 1996 - Cher Hans von Heirseele, 

à
cause d une proposition d Antje Dorn et Gosbert Adler je vous envoies
quelques photo's. Premièrement je veux vous montrer les traveaux Lucy. Si ces traveaux vous interessent, je veux bien vous rencontrer.

 

1997


Ministerie van de Vlaamse Gemeenschap; 17 januari 1997 - Geachte, 

Hierbij
deel ik u mee dat de Vlaamse minister van Cultuur besloten heeft u een
toelage van 45.000 F. toe te kennen als steun voor het werkingsjaar
1996./

 

Thomas Hauser: no date - Dear Christel Dear Hans

Here
the paper you asked for, I hope its OK. If not, fake one and use my
signature. I give you my permission. Thanks a lot for the ballpens,
that's one thing I totally forgot. I already got in contact with the
gallery of Stu Mead but his books are all sold out.

 

De Vuyst Georges: 3 juni 1997 - Geachte, 

Wij zijn een fabricant van sierschouwen en keukens in natuursteen.

Bij
het maken van de openingen voor het inpassen van lavabo's zagen wij een
ovaal stuk uit de granietplaat. Deze stukken hebben voor ons geen nut
meer.

Echter, als tablet of zo kunnen deze stukken nog nut hebben op tentoonstellingen, of als basis voor een kunstwerk.

Deze stukken zijn ongeveer 40 bij 30 cm groot en de rand ervan is natuurlijk niet verder bewerkt.

Indien
u geïnteresseerd bent in enkele stukken kan u die komen afhalen iedere
woensdag tussen 14 en 17 uur. Als deelname in de kost vragen wij
100,-BEF per stuk. Dit bedrag dekt geenszins de kostprijs maar moet
eerder gezien worden als een bedrag voor het bekostigen van deze
mailing. Hoogachtend,

 

Franky DC: 11 juli 1997 - Geachte Croxhapoxbeheerraadsleden, 

Ik
heb de eigenaardige gewoonte om niet in te gaan op uitnodigingen voor
tentoonstellingen indien ik constateer dat er bij het eerste contact
één, twee of meerdere fouten in de schrijfwijze van mijn naam
voorkomen. In uw geval waren dat er twee in de handgeschreven versie en
één in de getypte namenlijst. Met vriendelijke groeten, Franky Deconinck

 

Marc Maet: december 1997 - Beste Kristel & Hans, 

Hierbij vooralsnog het boekje "mijn klein verhaaltje", waarvan sprake was. Laat me weten hoe jullie het vinden. Vriendelijke groeten./

 

Amy Kephart: december 1997 - Happy New Year Hans and Kristel! 

Sally
and I had such a great time in Ghent! Thank you both so much for your
kind hospitality and for inviting me to show at Croxhapox! It was a
great experience for me. My month long residence at the 'Millay Colony'
in up-state was really great. I made 50 paintings (portraits and life
size selfportraits). I hope all is well with you both, and also that
your show went well, Hans. Keep me posted--- P.S. Sally and I am still
singing jetlag girls are the worst! There is something catchy in it hmm... Again - Thanks and best wishes!/

 

Classic Incasso: 17 december 1997 - Geachte heer, mevrouw,

Ondanks
onze eerdere aanmaningen heeft u tot op heden gemeend niet tot
volledige betaling over te hoeven gaan. Evenmin zijn wij er in geslaagd
om telefonisch met u in contact te komen.

Behoudens
omgaand telefonisch bericht van u gaan wij er vanuit dat u binnen 2
dagen na heden alsnog tot betaling van onderstaand totaalbedrag naar
één van bovenstaande rekeningnummers van Classic Incasso B.V. overgaat.
Indien wij op zeer korte termijn noch uw betaling noch telefonisch
bericht van u ontvangen, zullen wij de zaak overdragen aan ons
juristenkantoor, waarvan de extra kosten volledig voor uw rekening
komen. 

U gelieve zich de consequenties hiervan goed te realiseren!

Hoogachtend.

Classic Incasso B.V.

J.J.Otten

 

Wendy Hirschberg: december 1997 - Dear Hans, 

Best
wishes for the New Year! I had a chance to visit Tom Broadbent over the
holidays, my first visit to his home, and I liked very much the
painting of yours that he had hanging in his new loft. ( ) I was very
pleased to hear again from Tom that my work was well received by you
-so I am hopeful. The grant cycle for funding is very soon so I wonder
if you will be able to notify me either way via fax? ( ) I hope you
enjoy the holidays and wish you a fruitful year full of creative time
and adventure! Sincerely,

 

1998


ICC: 7 januari 1998 - Geachte Mevrouw, Geachte Heer, 

Ik
zou U zeer erkentelijk zijn indien U ten behoeve van de bibliotheek en
het archief van de Vlaamse Gemeenschap in het Internationaal Cultureel
Centrum te Antwerpen, me regelmatig Uw uitnodigingen, affiches en
persberichten zou willen bezorgen. 

Met dank bij voorbaat, 

en met vriendelijke groeten,

Dany Smet, Bibliothecaris

 

Dianna Frid: April 1, 1998 - Dear Kristel and Hans, 

Hello
again, I hope you are well. Enclosed you will find the list of people
in Europe to whom invitations should be sent. One of them is Nicole
Klagsbrun (she is in New York and the invitation should be sent to her
New York address as soon as possible). Nicole Klagsbrun is a prominent
Belgian gallerist based in New York City. She is going to Brussels for
the Art Fair which opens on April 23. She came to my studio yesterday
and asked me to have an invitation sent to her and that she will come
to see the show.

 

Heike Kati Barath: 06 05 98 - Geachte dames en heren, 

Op aanbeveling van Thomas Boïng bied ik mij aan om in uw galerij tentoon te stellen. 

Ik
heb één jaar aan de Akademie voor Schone Kunsten in Gent gestudeerd en
heb mij zeer verheugd dat Thomas mij aan u heeft voorgesteld. 

In afwachting op antwoord groet ik u. Ik ben steeds bereid tot een gesprek. Hoogachtend,

 

Debra Pearlman: July 18, 1998 

I
had intended to write long ago. One factor was waiting for the enclosed
glasses to finally be available again. Hans, I did not forget. Kristel,
your wonderful style is so clearly imprinted to me, that I hesitate to
enclose this gift of thanks. I do dope you like it. I also hope that
you are all well -your children also. Please send my regards. It has
been a long and difficult year, but hopefully that is beginning to
change. If you wish to contact David Dapogny, you can do so at this
address. He mas moved, but we are in touch. Do you desire other
recommendations? How goes the gallery and your work? Kristel, did you
set up a painting studio for the summer? I hope that you have the
chance to respond to this letter -perhaps with less delay than me.
Hans, could you send the name and address of the gallery in Antwerp
that you had mentioned to me?/

 

Patricia Thornley: December 24, 1998 - Dear Hans, 

Happy Holidays!/ I am just sending a quick note to let you know a few things about my arrival, and the installation of the work.

I
will now be arriving on Thursday, January 7th. Edward and I have
decided not to drive but to take the train instead. Could someone pick
us up at the train station? We will be arriving around lunch time. Our
train arrives from Paris into Brussels at 12:20. I will call to confirm
this. ( )

I
am wondering if you have a shelf or a pedestal that is approx 11x14
inches on top. If it is a pedestal then it would need to be at least
3.5 feet high (preferably a bit higher). In case you don't have
anything like this, I am bringing some shelf brackets and hope that we
could get a piece of wood that is 11x14x1 inches and paint it the same
color as the walls.

Some
of the pieces need anchored screws in the wall. I don't know what type
of walls you have so I am bringing some different types of anchors. The
total anchor holes will be 17. The metal pieces can get a bit heavy for
regular nails or screws. What do you usaully use?

Sorry
to be so brief but I am swept up in the holiday madness today. I am
looking forward to the exhibition and to meeting all of you.

 

1999


Heike Kati Barath: 1999 - Dear Hans, 

I
just found my 'evaluatie' from the academy in Gent and I send it to you
-maybe Marc Maet is going to remember this. Yours Heike

 

Tomo Savic Gecan: 15/1/1999 - Dear Sjoerd and Hans,/ 

I've
got a project proposal for Croxhapox -it's connected to the fact that
the gallery is moving space. This something I find very interesting in
itself and connected to my recent work. Please find the description of
my recent work enclosed on the following page.

If
there is a possibility to organise an exhibition at Croxhapox it would
be necessary that this is the very last exhibition in the old space.
The space would remain empty during the exhibition. The project is
connected to the idea of the function of any given space. The first
part of the exhibition would take place in Croxhapox gallery, the
second (which is to follow immediately after) in a private space, i.e.
the exhibition continues after the gallery has moved somewhere else.
The exhibition would go on for let's say ten days -during the first
five days in a gallery space, during the following five days in a
private space. 

There
would also be an accompanying catalogue in which the whole process
would be documented. As I will need to apply for some funding for the
catalogue I will contact you next week to see if it's possible to carry
this project out.

I hope you are well. I'll speak to you soon, 

Regards,

 

Wendy Hirschberg: 1999 

P.S. Needless to say, I am very sorry not to meet you this spring! 

Dear
Hans,/ By now, we may have spoken on the phone and actually Marijke
will have updated you on my situation. Either way, it might be helpful
to have it on paper so I will continue to write this letter. As you
know, I am pregnant ( ). Since I am considered by my doctor to be high
risk I must take some precautions and not travel to Ghent. This makes
me very sad though the reason for this is a very happy one. To make a
sad situation a happy one, I have come up with the following plan which
has been gladly embraced by my two dear friends Suzan Batu and Marijke!
Suzan will travel over with her son and my exhibition arriving on March
31st. ( ) My final idea is to produce a short video discussing my work
with a friend or two so that I will not be an entirely missing person
at the show./

 

2003


Ron Huebner: Oct 8th 2003 - Dear Hans

Please see enclosed video as well as catalog

It is not really a lot of material but perhaps will give

You
some idea of my work. I have been turning around a lot of ideas for the
window and am thinking of creating a kind of breathing space through
the use of transparent frosted vinyl of the outside window and a video
projection inside with a video beamer is that something possible?

Anyhow take care

Will talk soon

Yours truly

Ron Huebner

P.S. video is not completely finished editing yet


Ron Huebner: Oct 28th 2003 - Dear Hans 

Greetings, Hope that all is well and that the order Of chaos is not getting to you too much. 

It
was very good to come to Gent and see the actual Space. Please forgive
me for not being perfectly clear In the past about the project.
Sometimes it feels like life Is holding together by thin threads. 

I know now EXACTLY what I want to do. This trip To Germany was very motivating factor.

For
this project in order to really do it right it will be Very important
to get the Right equipment which As I mentioned in my last email I
really hope that we Will be able to do. Perhaps this company can use
this Opportunity as a way for them to promote themselves I don t mind
if there is a sign there that says sponsored BY.

ANYHOW see enclosed proposal, Hope that You And the committee will like it, YOURS TRULY Ron Huebner.

 

2004


Stad Gent - departement cultuur, 02 feb 2004 - artistieke manifestatie "Basics #1"

Geachte heer Van Heirseele,

Het
college van burgemeester en schepenen heeft in zitting van 24 decemver
2003 het subsidiebedrag voor deze manifestatie definitief vastgelegd op
1.000 euro.

Deze beslissing zal in februari 2004 aan de gemeenteraad worden voorgelegd. Nadien volgt de uitbetaling van het saldo.

Met vriendelijke groeten,

 

Stad Gent - departement Cultuur, 16 feb 2004 - "Basics #1"

Geachte heer Van Heirseele,

Uw
manifestatie werd gunstig geëvalueerd. Op basis van uw kostenafrekening
heb ik aan de Gemeenteraad voorgesteld om de subsidie van 1.000 euro
vast te leggen. In zitting van 16 februari 2004 keurde de raad dit
bedrag goed.

Ondertussen heb ik de stadsontvanger opdracht gegeven om de storting van het saldo zo snel mogelijk uit te voeren.

Nogmaals dank voor uw bijdrage tot het culturele leven van onze stad.

Met vriendelijke groeten,

 

Renate Wolff (2004, no date) - Dear Hans,

this is the promised photo of the "Genter TRaum"-Model.

The
title for the shows "Genter TRaum" is related to an installation called
"Genter Raum" by IMI Knoebel from 1980 shown the first time in the
Museum van Hedendaagse Kunst in Gent. My title refers to the piece but
goes beyond it. 'Traum" means Dream, but the first 2 big letters
(TRaum) implicate both, the space (=Raum) and the meaning beyond it.

Will you use the photo for the invitation card or for another anouncement?

For my further preparation I need some information from you:

1. - to where can I send the paint and my other materials, to your home address or to the gallery?

2. - when can I travel to Gent? Since I need to start early I would like to come Sunday 30 of May. Is this convenient for you?

3. - where shall I live in Gent? Is the place I can stay close to the gallery?

4. - do you have a bike for me to move in town?

5. - Can the person, who assists me, help me from Monday on to the final end? (this is nessesary!)

6. - for the installation work I need:

-a spirit level (at least 1m long)

-a big ladder for reachting the top

-a long strip of wood (at least 2m long)

Please call me soon, so I can do my preparations. I hope you like the piece!

sincerely,

Renate

 

Renate Wolff (2004, no date) - Dear Hans,

How
is everything going? How far is the show, taken down or prolonged till
August? How did people react, how many people came to see?

I
heard that Imi Knoebel was very curious about the show, he asked
Christian about it. Next time, I'm in Düsseldorf, I am going to see him
and show him photos.

In
addition to my letter I send you one catalogue for you and one for your
nice neighbor with the three kids. Please pass it over to her and say
hello. Thank you./

You
said I should list my costs for the show. So the materials were
118,-euro and the travel costs were about 200,-euro. But it is up to
you.

Can
you please give me some feedback from the show and the circumstances.
Because an artist needs to know. Please also negative./

In expectation of your answer.../

Best wishes from Berlin. Renate

 

Luk Berghe - (2004, no date) - Beste Hans,

Ik stuur je wat beeldmateriaal zodat je een visuele indruk krijgt van mijn doen.

Onze ontmoeting in crox vond ik aangenaam.

Ik stuur je later nog wel voorstellen. Groeten. Luk

 

2005


Stad Gent - departement cultuur, 07 jan 2005 - kunstproject "Instalramen"

Geachte heer Van Heirzele,

Tot
mijn spijt moet ik u mededelen dat het college van burgemeester en
schepenen, gelet op het advies van de bevoegde commissie, in zitting
van 23 december 2004 beslist heeft niet in te gaan op uw
subsidieaanvraag voor hogervermelde activiteit.

Financiële
steun wordt voorbehouden voor projecten die afgebakend zijn in de tijd.
Dit is niet het geval voor "Instalramen" dat sinds onafzienbare tijd
doorgaat. De budgettaire beperkingen nopen bovendien tot een beperking
tot maximaal twee aanvragen per vereniging. De aanvraag voor de
tentoonstelling "Basics" die u eveneens indiende zal in februari ten
gronde behandeld worden.

Ik wens u veel sucees met uw activiteiten.

Met vriendelijke groeten,

 

Leon Eeckman - Brussel, 27 april 2005 - Geachte Heer,

Betreft: Verzekering Tentoonstelling : "Fotoproject Metamorphose"

Wij willen er U op wijzen dat de in de rand vermelde dekking ten einde loopt op 01/05/2005.

Indien U een verlenging wenst, gelieve ons dan zo vlug mogelijk hiervan te verwittigen.

Als wij geen antwoord van U gekregen hebben binnen de 14 dagen, klasseren wij het dossier.

Hoogachtend,

 

Leon Eeckman - Brussel, 28 april 2005 - Geachte Heer,

Betreft: Schadegeval van 27.04.2005

Beschadigd kunstwerk: 7 foto's

Wij melden ontvangst van uw e-mail en hebben het nodige gedaan bij de verzekeraars.

U
vindt hierboven de referenties van het dossier dat wij geopend hebben.
Gelieve deze bij elke later mededeling te vermelden en ons elk
document, dat U in verband met deze zaak ontvangt, toe te sturen.

Mevrouw
*** werd met het deskundig onderzoek gelast, dit onder voorbehoud voor
wat de aansprakelijkheid betreft. Gelieve met dit kantoor zo snel
mogelijk kontakt op te nemen om een afspraak te maken.

Steeds tot uw dienst verblijven wij,

hoogachtend,

 

Doris Kuwert - 2005 (no precise date) - Dear Hans!

I hope you don't feel confused by my drawings.

The whole idea about the curtain moving up and down is to let it slide on an oblique surface.

In the end/

The time procedure is as follows:

driving down, have a break,

driving up, have a break, and,

perhaps an extra break in between. This movement is quite slow.

On the other window it should go the opposite direction./

I hope you like the idea and that it is in general is possible to build it up. And now the questions start:/

 

2007


Ryosuke Cohen (no date) - PORTRAIT PROJECT -
Dear FRIPS/  I and my friend Shingo MIZOGUCHI - music teacher at junior
high school and mailartist Kazunori MURAKAMI are planning to visit
France (near Paris), Luxemburg, Belgium, The Netherlands and Germany
(near Belgium), July 22 to August 1, 2007. We leave Frankfurt for
Japan, August 2. Now we are making out the travel schedule. So we would
like to stay at your home for the one night. If there is no room large
enough for three of us to stay, one or two of us can stay at the hotel
near there. Would you please give your answer to Kazunori MURAKAMI -
yes or no, together with some advisable information?/ I want to draw
self-portrait and life-size portrait of mail artists. Is space large
enough for the mail artist to lie, because I outline the mail artist's
body lying on the floor?/ I would like to ask for your reply at your
earliest time till the end of May./ Best wishes, Ryosuke COHEN

 

Larry Walczak: Mon, 23 Apr 2007 13:32:51 - Joris

I hope you had a wonderful experience in Cologne this past week. I look forward to hearing stories from Thomas when he returns.

At this time I am reque

1996. crox 51, Open Deuren. Presentation of drawings and paintings in the basement of a house at Aannemersstraat.
1999. crox 96, De Boodschapper. [The Messenger] A project of Philippe Vandenberg and Sylvain Cosijns. Publication of De Boodschapper, limited edition.

2008, crox 264. Drawings. A presentation in the media space (bar, cube).
2009. crox-card Nr 85.
crox 314, Zennestraat 17. Duo project by Mil Ceulemans and Oana Cosug on the third floor. During the first episode of Zennestraat 17 Julian Moran had his show there.

crox 88. Solo project, January 1999. This is the project where AC presents the breathing table.

crox 102. Carte blanche, a group project in Cultureel Centrum Strombeek-Bever (Brussels), February 2000. Three artists: Jan De Cock (Brussel), Dirk Zoete (Gent) and Anton Cotteleer (Antwerpen).

crox 145-I. Basics 2, June-July 2005. 

crox 188-I. Brainbox unit 1: Anton Cotteleer, Stijn Van Dorpe, Nicolas Leus. September 2006 

crox 188-VII. Brainbox unit 7. Identical to unit 1. December 2006

PURE POETRY - Edith Doove, De Standaard, Wednesday 13 January 1999. Croxhapox has a surprisingly poetical exhibition with works by Anton Cotteleer and the American Patricia Thornley. Cotteleer presents a very sparce installation with slightly surrealistic objects. A birdcage covered by a cloth resembles a Singer sewing machine merged with a table - a hole replaces the place where they touch. A tiny red plastic bucket is a bit further. Here is the poor beast you would expect to be in the cage - not a bird, but a squirrel very dead and stuffed and in its turn melting in with its environment./ Lastly, there is a low table. I regard it to be seats to contemplate the spectacle described before. Fortunately, I don't take a seat because what appears a real wooden table top with its rings and nodes is a membrane moving slowly up and down. Herein lies the power of Cotteleers work - everything seems to be breathing, encompassing some kind of life./ The table/cage gives the impression to harbour a birdy not wanting to escape through the hole in the table, the squirrel seems to be sleeping peacefully and to be happy with its environment by taking on its colour. And the table, it really breathes./ Patricia Thornley's work is interesting also, but in an entirely different way.

 

Lid van de Algemene Ledenvergadering sinds circa 2012. Autoriteit op het vlak van experimentele muziek en avantgarde jazz. Klusjesman en deejay. Een lijst van uitverkorenen, zoals hij het zelf noemt:

Experimenteel, Avantgarde, Letfield Karlheinz Stockhausen, Trevor wishart, The Residents, George Cartwright, Elliot Sharp, Alfred Harth, Fred Frith , Jac Berrocal, David Thomas, Palincksquartet, Negativland, Bill Laswell, Tom Cora, Jean Cohan-Solal, Max Eastley, Steve Beresford, …
Free Jazz Alexander Von Schlippenbach, Paul Lovens, Evan Parker, Steve Lacy, John Butcher, Ornette Coleman, John Zorn, Alex Dörner, Sergey Kuryokhin, Manfred Schoof, Anthony Braxton, Sun Ra, Maggie Nicols, Han Bennink, The Ganalin Trio, Charles Mingus, John Coltrane, Miles Davis, Emil Viklicky, Michel Portal, Lol Coxhill, The Globe Unity Orchestra, …
Avantgarde New Wave, No Wave, Electronic D.N.A., Jung Analysts, This Heat, Nasmak, Stephen Eicher, Video, Four Tet, James White, Jah Wobble, Ted Milton, A Certain Ratio, Talking Heads, The Clash, Kid Baltan, The Stranglers, Palais Schaumburg, Elvis Costello, Essential Logic, P.I.L., The Flying Lizards, …
Hip Hop, Exp Dub, Latin, Afro On U Sound label, King Sunny Adé, Fela Kuti, Ray  Barreto, The Beasty Boys, Wizards of Ooze, Kip Hanrahan, King Tubby, Manu Chao, Thiaz Itch, …
Other Essentials The Velvet Underground, The Beatles, Soft Machine, Annette Peacock, Marc Moulin, Uz Jsme Doma, David Bowie, Steely Dan, Serge Gainsbourg, ...

Een 30-tal muziekplaten van betekenis uit de collectie van:
1) Trevor Wishart & Friends – Beach Singularity/Menagerie (York Electr. Studios YES 8) 1979 avantgarde jazz, rock, spoken words, letfield, exp
2) Jac Berrocal – Fatal Encounters (Le Disque Du Soleil Et De L’Acier CDSA-54 026) 1994 electronic, exp.rock
3) The Globe Unity Orchestra – Live in Wuppertal ’73 (FMP 0160) 1973 free-jazz
4) George Gräwe Quintett – New Movements (FMP 0320) 1976 free-jazz
5) The Velvet Underground – White Light/White Heat (Verve V6/5046) 1968 rock, exp
6) Video-Aventures – Musique pour Garçons et Filles (Recommended Rec. RR 8.75) 1981 electro, synth-pop, exp
7) Catalogus Perfo 2 (Lanteren Venster LAT 8442) 1984 (dlp.) spoken words, exp, avant-garde
8) Jung Analysts – Sprockendidootch? (Cordlia Rec. ERICAT 011) 1985 electro, synth-pop, exp
9) Ulrich Gumpert/Gunther Sommer Duo – The Old Song (FMP 0170) 1973 free-jazz
10) Jean Cohen-Solal – Captain Tarthopan (Connection CTN 69 569) 1973 prog folk rock
11) Laco Deczi Jazz Cellula – Ohen az Pozar (Opus 11 0638) 1976 jazz funk, fusion, latin jazz
12) Thiaz Itch – Binjoum (Proot Rec. PRT 005) 2008 synthetic fanfare, electro
13) Paliincksquartet – Covers (VONK 3) 1992 avantgarde rock jazz, exp
14) Squarepusher – Music is rotted one note (WARP  LP57) 1998 exp jazz, IDM, fusion
15) Various Artists – State of Union (ZOAR 10) 1982 exp rock, no wave, punk, tapes
16) George Duke – I love the blues (MPS MC-25671) 1975 avantgarde jazz, rock, funk, fusion
17) Lizzy Mercier Descloux – Press Color (Ze Records ZEA 33-004) 1979 no wave, free funk, exp rock
18) Les Tuers De La Lune De Miel - The Honeymoon Killers (Crammed Disc CRAM 013) 1981 new wave, exp rock, synth-pop
19) The Beasty Boys – Ill Communication (Grand Royal GR 006) 1994 (dlp.) Hip Hop
20) Four Tet – A joy (Domino Rec. rug 213t) 2005 future jazz, Hip Hop, electronic
21) The Invisbl Skratch Piklz – Nd2 Helpings: A cup of scratch and A slice of cut (RDJ 00004) 1998 scratch Hip Hop, Old School
22) Talking Heads – Remain in light (Sire SIR-56867) 1980 exp new wave, funk
23) Beck – Odelay (Bong Load Custom Rec. BL 30) 1996 electro, rock, hip hop
24) X-legged Sally – The land of the giant dwarfs (Knitting Factory B.Bang! 20517 Int KFW 182) 1995 avant-garde jazz rock, exp
25) The Residents – Duck Stab! (LCDSTUMM295 50999 5) 1976 avantgarde rock, electro, exp
26) Karlheinz Stockhausen – Aus den siebe Tagen (Musique Vivante MV 30795) 1969 avant-garde classic jazz, exp
27) Serge Gainsbourg – de serge à gainsbarre (Philips 532130-2) 1996(3CD Box) chanson, pop, reggae
28) Mark Stewart + Maffia – Learning to cope with cowardice (Plexus KMH 709/222) 1983 exp dub
29) Manu Chao – Clandestino (Virgin 7243 84578329) 1998 dub, rock, latin, letfield
30) Kid Baltan – Song of the Second Moon: The Sonic Vibrations of Tom Dissevelt & Kid Baltan tapes, avant-garde, exp

2009. crox 315. >De Swaef, Sven
FIGURES, crox-book nr 13.

crox-box Friday 9 October 2009

bonfire
Apart from some ten drawings Michel Couturier also shows a 5 part film cycle, The Bonfire. 1 is Berlin, 2 is Brussels, 3 is Valencia, 4 is
Venice, 5 is Sofia.
The chronologic order differs. Brussel
is December 2006, Berlin Januari 2007, Sofia is April, Venice May 2007, Valencia February 2008. All films came about in more or less the same way, à l'improviste.
Venise: quatre Italiens, des étudiants ou des gens qui travaillent là.
Valencia: Mister Pink, une espace, des étudiants et la police.
Berlin: un ami qui s'appelle Thibaut De Ruyter, un français de Lille. Tous des français d'ailleurs, par hasard.
A Sofia des employés d'un entreprise et les chiens. A Bruxelles les gens de Complot.

site A Bruxelles c'est devant l'office d'étrangers au Avenue Albert II. Over the Ijzerpoort. In Berlijn the Mauerpark, à la limite de Berlin Est Oest.
In Valencia under a bridge. On est parti du centre historique. Here, in
Valencia, they had to deal with the cops. They told them they hadn't lit the fire themselves, curiosity had driven them. A
Venise c'est, je sais l'endroit, dit Michel, c'est tout près des ports,
le port des paquebots. Paquebot. Tout les mots de la marine, il y en a
plein qui vient du Néerlandais.
Sofia: devant le bâtiment d'un centre culturel du Communisme. Maintenant un truc commercial.

Kamagurka & Herr Seele. crox 10 (november 1990): Bijna 10 jaar Cowboy Henk. Een overzicht van de tumultueuze beginjaren van Cowboy Henk, eerst als dagblad-, later als weekbladverschijnsel.
Voor de affiche van Bijna 10 jaar Cowboy Henk werd een cartoon uit de hilarische beginperiode gebruikt, toen Henk nog een dagbladverschijnsel was: VANDAAG - DE TEKST - MORGEN - ALS ALLES GOED GAAT - DE TEKENINGEN!

Cremers, Jesse. member of the collective De Onderneming [The Enterprise]. In croxhapox, crox 302 (2009), turned into De Overneming [The Taking-Over]. Members of the collective are mister Cremers, junior Cremers, mister Van den Eynden, Madam Nope, Mister Van Goethem, Mister Vissers, Mister  Behaegel, Mister Van Speybroeck and trainee Devos.
Some members of the collective are present again the next year, this time as W. Wolkman, during A Group Show, a production by RE:

Cremers, Peter. Father of. One of the members of the vocal ensemble Trio Quattro. Tenor. Concert beginning of April 1999, at Aannemersstraat, during the opening night of crox 94/95. Some ten years later he is back again. Speeches during the presentation of a project by Cremers junior.

2010. One of the composers in the programme of Mr. Probe says Hello, a music performance by Marieke Berendsen and Bruno Nelissen.

 

crox is used as an indication for real quality, a rich blend of artistic and intellectual qualities spiced with what we call a non-conformist attitude. There's damn a whole lot of conformism in recent art scene, and that's not really what we are looking for.

Opening speech
crox 53 (Dre Devens, mei 1997). Piece for typewriter, tin can, flute and voices
(Hans van Heirseele). The composition Piece for typewriter, tin can, flute and
voices is based on a poem by Jackson Mac Low: 36th Light Poem: In Memoriam
Buster Keaton (Jackson Mac Low, Representative Works: 1938-1985; Roof Books
1986). 4 sound-units each time follow a rhythmic pattern which is subjected to
a random process; the rhythmic patterns are performed by/on/with respectively a
typewriter (text 1), a tin (percussion, text 2), alt flute (text 3) and voice
(text 4). The recording was afterwards reduced to 2 tapes (because only 2
cassette players wer available). During the performance the performer sits at a
small table. On the table are a typewriter and a pile of books. The performer
types a text the fragments of which are from the books. There are some five
books. Crox poem N°53 is the material residu of that performance:

CROX POEM N°53

Each now and then / spontaneous / whatever it meant. Its means
and effects. He never wrote a regular poem.
Didn't care a damn shit. Her entire body liberated, curved
in between an ashtray and fingertips. Gertrud knew, solid ground
in between eyebrows a rooftop.
Make it seen or unseen / these people just seem meant to be there.
Even quite easy, it would feel difficult to accomplish.
Each third movement needs a different move.
One more variation on something Chopin wrote,
one thing, we knew all about it, and one thing don't.
And some very short act, spontaneous, whatever it meant.

[A Dutch translation is available > crox poeem]

1. Beverhoutplein 7 (Sint-Jacobs, 1990-1991). Ghent downtown. First and rather enigmatic crox location. Residence from March 1990 to May 1991. 16 projects (crox 1-crox 16) and an aura of heroism.

2. Aannemersstraat 54 (Sint-Amandsberg, 1994-2000). Second crox location from Summer 1994 to Summer 2000 (crox 22-crox 104). Suburban location. Here the main crox theme got established.

3. Lucas Munichstraat 76/82 third crox location (from 2003). From 2003 till October 2004 limited to crox1, the cafeteria. At the end of October 2004 crox2 becomes available. The first project here is a solo by Carole Vanderlinden. Beginning of October 2005 crox3 annexed, a space where Bart Van Leuven had his photo studio till early 2005. Here the first project is a solo by Stefaan Dheedene. In July2007 the former atelier of Stief Desmet is added; a few months later the mdf wall is taken down and crox3, the large space at the end of the corridor, is renovated.

 



Honorary title for artists who combine intelligence, esprit, talent and oeuvre with a sincere (transparante) moral position. Fame has no place in this. Even the frenetically searched for crox solo isn't essential, there is quite a lot of artists who undoubtedly deserve the crox label, even if they have never been involved with croxhapox.  

published:

1 Maud Vande Veire. 2006. Untitled. 40pp. 10 euro
2 Johan De Wilde. 2006. Particles. 80pp. 12 euro
3 CarianaCarianne (US). 2006. Borders. 80pp. 12 euro
4 Thomas Böing (DE). 2006. Notes. 88pp. 12 euro
6 Marc Coene. 2007. LAN. 80pp. 12 euro
7 Nicolas Leus. 2007. WAADRUIM : LEGENDA. 80pp. 12 euro.
8 Philippe Vandenberg. 2008. BLACK A GARDEN FOR ST. JOHN'S MILLBROOK. 160pp. 15 euro.
9 Brian Getnick & Noe Kidder (US). THE GENTLEMEN'S GENTLEMEN. 48pp. 8 euro.
10 Peter Morrens. 160pp. 15 euro.
11 Guido De Bruyn. GE STAAT DAAR OP HET KERKHOF VAN AALST VOOR HET GRAF VAN LOUIS PAUL BOON. 48pp. 10 euro.
12 Johan Joos. MAJUSKEL. 90pp. 15 euro.
13 Michel Couturier. FIGURES. 160pp. 15 euro.
14 Hans Theys. OVER VORM. 400pp. 25 euro /first edition/ out of print
15 Hans Beckers. SUBITA ORATIO - SONARE MOTUS. 48pp. 12 euro.
16 Rik De Boe. TESTBEELDEN. 160pp. 15 euro.
17 Anoniem eerste helft 21ste eeuw. (Anonymus first half 21st century). 404pp. 25 euro.
18 Jan Op de Beeck. MUIS. 48pp. 12 euro.
19 Dirk Zoete. CAREFUL DRESSAGE. 240pp. 25 euro.

crox-book NR 1 : Maud Vande Veire
Release March 2006. 40pp, bound. no titel. 32 drawings, volume 2004. ISBN 90-76593-02-7

crox-book NR 2 : Johan De Wilde. PARTICLES.
Release May 2006. 80pp, bound./ First edition entirely according to the crox format. The book combines drawingss, photos and text. The author included a quote from Flaubert's Bouvard et Pécuchet: 'Cependant...' Et Pécuchet répéta deux ou trois fois 'cependant' sans trouver rien de plus à dire.' In the back, a short text illustrates the general tendency of the collected text frgament : This book contains notes originating in the periphery of my drawings. The author firstly thanks Guido Saey and sendondly, with special emphasis, Kris Latoir. Striking absnce of titles for drawings and photos: the concept of the book is puzzle of fragments of text and image. ISBN 90-76593-03-5

crox-book NR 3 : CarianaCarianne (US). BORDERS.
Release June 2006. 80pp, bound./ Withing the framework of the crox-books factually the first exemplary one, its publication being envisaged already at the end of April 2004. At first the book was meant to be a meticulous documentation of crox 118, CariannaCarianne's first crox-project. The final version, editied by the artist, includes a semi-autobiographical essay, a postface in the guise of an essay by Trevor Martin and images from the first crox-solo (crox 118/ 2004). ISBN 90-76593-04-3

crox-book NR 4 : Thomas Böing (D). NOTES.
Release October 2006. 88pp, bound../ First edition with a supporting colour in the body: the titles at the left pages have the same colour as the cover. Apart from the titles, the book has no text, as the title suggests, but only a selection of drawings from a timespan of ten years.  Some of the works, like 'trucking company logo', 'zodiac', 'series', 'father and son' and 'trip' are part of the first solo project by Boïng (crox 73, March 1998); others are more recent. ISBN 90-76593-05-1

crox-book NR 5 - Wouter Decorte. UCHRONIE. Publication suspended.

crox-book NR 6 : Marc Coene. LAN.
Release end of February 2007. 80pp, bound./ A selection of the photos Marc Coene showed in croxhapoc end of 2004, in the small space where we have now a cafetaria. LAN stands for land and landscape but also for Local Area Network. The titles are restricted to a numbered enumeration. No index is included at the back of the book - e.g. a reference to the places where the pictures where taken (Northern France, Bretagne, Ecuador...), but an overview of previous editions. ISBN 97890-76593-07-4

 

Le vrai Lait Russe. Someone who studied at the Conservatory of Minsk is at the origin of this recipe: Use double portions of preferably freshly ground coffee; bring milk to boil, add a bit of water; pour boiling milk through coffee filter (with added water the aggluginating effect of the gluelike lactose in the milk is less).Therecipe is particularly popular during the Beverhoutplein period and leads to Guido De Bruyn recurrently politely enquiring 'surely not that crox coffee again'? 

van

books: La vie mode d'emploi, Georges Perec. De baai van Kara-Bogaz, Konstantin Paustovskij. Exercices de style, Raymond Queneau. Ecuador, Henri Michaux. Cosmos, Witold Gombrowicz.
film: Andrei Roublev, Andrej Tarkovski. Il vangelo secondo Matteo, Pier Paolo Pasolini. Frenzy, Alfred Hitchcock. North by Northwest, Alfred Hitchcock. Het Zwijgen, Ingmar Bergmann.
music: The New Tristano, Lennie Tristano. Money Jungle, Ellington/Mingus/Roach. Die Kunst der Fuge, J.S. Bach. The Quest, Mal Waldron. Bluejeans & moonbeams, Captain Beefheart.

J. Delvinlaan 113/115, 9000 Gent. At the first floor, number 114, the crox-residence.

At the mantlepieces, in the crox-residence, two mantlepieces,
black marble, one in the front, one in the back, in the front with a view on the unique freshwater ecosystem and on the window sill a potted plant which has known better times, are a total of 51 books. At first there were 50. Expanded to 51 now. Mottel and Shea having thoroughly destroyed the sunshades in the front and Julie left a book bahind after staying in the residence, she said it was a present. History. And so it begins. (...)

De hoop van Pandora, Stefaan Van Ryssen.
Choices,
Welfare and Measurement by Nobel Prize Economy Amartya SEN. An astonishing book for two reasons: terribly interesting and at the same time practically unreadable. 
The Green Imperative, Victor Papanek.
Gods in the Bazaar, Kajri Jain. With images of Indian Gods and Godesses in popular print.
100 Siuolaskiniu Lietuvos, an edition by Dailinnku. 100 Lithuanian artists, that's what it says.
Thud! by Terry Pratchett.
De sfinks op de belt byWilly Spillebeen.
By Mario Livio, who also wrote Is God a Mathematician and The Golden
Ratio, as I can find through Google, we have The Equation That Couldn't Be
Solved. Things I imagine are as exciting for Van Ryssen as a detective story by Raymond Chandler.
Kotler's Marketing for nonprofit organizations, 2nd edition.
Bicycling Science by a certain Wilson, 3rd edition.
Designing Sociable Robots by Breazeal.
De divan, a play by Manuel Van Loggem.
Geen seizoenen als vroeger. At first sight no other information on the back.
De
labiele stilte, by Daniël Robberechts. That makes me think and ponder for a while. Once, I gather in 1991 or early 1992, we contacted Robberechts. We asked ourselves if he would be interested to write about croxhapox. You can't know beforhand, such things. 
Xantippe by Paul Lebeau. I question Google: intensive problem novel, it says. 
Langzaam naar het zand by Walter Haesaert.
Two parts of Jongens en Wetenschap, 5 and 12, with a cover triumphantly glossy. 
Honorens Honoré. Next to it, Ballenjongen by Filip Joos.
By Karel Jonckheere Met Elizabeth naar. A sticker covers the second part of the title.(1) I open the book. It is a collection of three novels. It says: Met Elizabeth naar de golf. On the front cover is an image of the mermaid in Copenhagen. 
BANCO by Henri Charrière, who is, if that is what the word between brackets means, also the author of Papillon.
The
Atlas of Climate Change by Kirsten Dow & Thomas E. Downing, and next Diversity and the rain forest by Terborgh. Ther is another one about the rainforest in a little while. 
Karen Armstrong and A History of Jeruzalem.
The Collins Compact. Reduced edition of the Collins Cobuild dictionary.
Guide du fromage.
Parties,
a guide to succesful party giving, edited by Maggie Black, and Van wei
tot wijk. This is what sits on the mantlepiece in the front. 
At the back we start with the book Julie August left behind in the crox-residence:
Das Gleichgewicht der Haie, by S. Fischer.(2) Below, the Fischer book lies on top of a horizontally ordered stack, Mining The
Web, Cinema E Video, MUSIC, an edition of Hamlyn and The Roman Empire.
The Unbound Prometheus, Technological change, 1750 to the present.
Riding
the Waves by Leo Beranek. Google adds: Leo Leroy Beranek (born
September 15, 1914) is an American acoustics expert, former MIT
professor and a founder and former president of Bolt, Beranek and...
Next to Beranek something by someone whose name is Adams: Winter Music.
Applied General Systems Theory, by Van Giggch. Jesusmaryjoseph, where did he get that name: Giggch.
Le Château des Belges, something by Renée C. Fox.
Der Prix Ars Electronica 93 and, to the right, I started at the left, going rightwards, Esthétique marxiste et actualité.
Vulture Biology and Management in Art, V2_NAI Publications and Javascript Essentials.
By Marshall G. S. Hamilton The Venture of Islam 1: The Classical Age of Islam.
Experimenal Cinema, David Curtis.
Something by Simone de Beauvoir: De tweede sexe, part 1.
Night
Frost by R. D. Wingfield and, again to the right of previous, Ilium, by Dan
Simmons: Sets the standard for SF in the New Century. Maybe I am confounding some of the title, from my hastily jotted down notes Night Frost could as well have been by Dan Simmons and next to Ilium Peter F.
Hamilton is also mentioned.
By Havelock Ellis: Psychologie van de sexen.
The series ends with Global Marketing, by Douglas Lamont. And the question remains: who, of the many residents, has ever really touched one of those books, has opened Night Frost and read half a page, or chose to lie down, sighing in triumphant gutteredness.

(1) The sticker is, according to Van Ryssen, at the back of the book.
(2) Fischer is not the author but the publisher of the book. 

[Note by the translator: This jumble of titles and authors, misquotes and misattributions shows the general ignorance of the author of the original entry. We have, however, chosen not to make any corrections. Anyone who can't appreciate the importance of a thoroughly researched book about the biology and management of vultures isn't worth browsing my library.]

croxhapox
meaning of the word croxhapox "Croxhapox" (what does that word mean?)" (Larry Krone; February 1st? 1999ø/

#1 Conceived by Hans van Heirseele, the word first emerges in a letter to >Guido de Bruyn. There is no final answer to the question "what does it mean". What comes closest to a perfect answer is that it doesn't mean anything. Croxhapox is a found word, a neologism. Its most striking feature is the assonance in ox ox. As a neologism one could as well categorise it as an onomatopoeia, like helter skelter or higgledpiggledy, "1 the formation of words whose sounds imitate the sound or action they represent, 2 a word formed in this way." (Chambers 21st Century Dictionary, p 961).

This is the most anecdotic and probably also the most transparent explanation, but the question remains as to what sound it imitates. The most promising angle of approach in that case is: let?s consider the word croxhapox in the context where it first appeared, viz., the letter of Hans van Heirseele to Guido De Bruyn (Autumn 1989), a letter that marks a bizarre and chaotic climax in the epistolary oeuvre of both friends, so intensive and chaotic that Guido mentions in his reply " a Sch”nberg with a hangover". What Hans tries to expose in the letter is, ok, fine with me, we can't really communicate, so, here you go, here is the full load. Brace yourselves for what that means. In 75th Century Ghent, a certain mister "Platjens" ['Levelly' or 'meanly', but 'plat' has a very specific connotation of also being slithery, without backbone etc. note of the translator. Platjes, without "n" also means pubic lice.] enters a second-hand bookshop and finds an intriguing booklet: an annotated edition of the letters (From Here to There and back Again) [note: the reader should not be surprised at the resemblance of this title to some lines in Tolkien's Silmarillion], the letters are, evidently, those of the duo van Heirseele - De Bruyn. Over the roofs of Ghent rises at that time high and dry a big hollow perspex sphere. There is no traffic in the inner city: all streets and highways appear high up in the steel-blue sky. Soon it becomes clear that Levelly is the hero of a story which a certain Croxhapox, >android - we are now 20 thousand years after the big ass-crash - found at the viewscreen of his archfriend, the android Utitut. Both androids are in an airship [sic], somewhere far away in some galaxy or other, they are the only and last remaining artefacts from humanity's heritage.

The letter doesn't contain any other information, it is a nec plus ultra [sic]. Utitut is the smart robot, as reflected in the sound of its name: a pedantic know-it-all; Croxhapox is the stupid robot, or rather the contrary robot, literally, it had stopped functioning smoothly as an android quite some time ago. The smart robot is a metaphor for the conforming artist (dixit Eco, see "Cultuur van de wansmaak", a book Van Heirseele was reading at the time), the stupid robot is the alter ego of the rebellious artist, emphasised in his name by the repetition ox ox. As far as content is concerned this is the most water holding explanation of what the bizarre word croxhapox could signify. (For a fragment of the letter itself, see #10 > Anrys, stefaan).

#2 Someone brings up the following linguistic relationships: crox beckons crux (essence), hapox seems to be close to hapax or hapax legomenon (the unique): "word or concept that appears only once in a language or with an author." [Hapax is not included in Chambers, so we give a translation of our own, note by the translator. It is implied that both the author and the language are dead before a word can be considered a hapax.]

#3 The prize for most tasteful and also easiest explanation of the origin of the word croxhapox is admittedly gastronomic. See >Metro (supplement of The Morgen, 27 January 1999, LVDS): " I used to eat nothing but croque-monsieurs ("Toasted ham-and-cheese sandwiches", Van Dale) . I derived Croxhapox from all those croques." LVDS (author of this press bulletin) avails himself of some liberties, one of which is the unilateral emphasis on what is at most a suggestion. Whether the wordplay crox is derived directly from croxhapox is all but clear, it is simply one of many possible explanations, at least for those who ask themselves what it means and where it comes from.

#4 Pox. Get the pox, or [Duch]: 'krijg het schurft'. The third syllable doesn't really point at petty bourgeois conservative traditions. Cambridge says: "the pox dated infml SYPHILIS. See also CHICKENPOX, COWPOX, SMALLPOX, CROXPOX." Though often overlooked (quite a number of crox habituals pronounce croxhapox as croxafox), it is precisely the third syllable (pox) which injects the word with extra thrust. palindrome.

#5 At first spelled as crochapox. The author replaces the weak sounding ch [in Dutch it sounds like the ch in German 'Ich'] by an x. xoxoxox and oprapas, trisyllabics from the same family of words as croxhapox.

#6 Anecdote. At the end of the 80's Frank Van den Eeckhout drove a Volvo with license plate CPX200.

#7 "Croxhapox, a new start". Dirk Pltau, De Gentenaar, 27 January 1995. Dirk Pltau's criticism is a surprisingly complete summary of the early years of Croxhapox vzw. "GENT - They started some five years ago in a squatters' building at Beverhoutplein, close to the St-Jacobskerk. Very humble. We visited two exhibitions than, one an installation of Sjoerd Paridaen and the other a series of small pictures by Daniel Libens, both teachers at the School ('Academy') of Fine Arts in Ghent. We also reviewed them, and as we remember, not even negatively. After the building was taken down, the society organised a number of less 'sedentary' projects: "En Passant" in (shop) windows, and an initiative involving copy art. They reside now in a small but hospitable dwelling in the basement of a house in the Aannemersstraat in Ghent.
Croxhapox used to be the duo Hans van Heirseele and Frank van den Eeckhout. They organised the street projects after the squatting experience of Croxhapox together. They made sure one could see copy art of German, English and American artists in the streets of Ghent and that one could view art from the sidewalk, in Ghent shop windows. The latter initiative, called "En Passant" was not a big success. "I admit it was a bit of a dud," says Hans van Heirseele.
In 1990, Croxhapox invited a number of artists to create alternative traffic posts. Some internationally renowned artist had accepted the challenge: Visch, Perejaume and Wakolbinger joined, but the project was ditched at the last moment because Jan Hoet opposed it. He deemed it to megalomaniac.
The very last initiative of the duo van Heirseele/Van den Eeckhout was "KNUTS" [anagram of Dutch 'Kunst' = 'art']. Its concept was to spread displays with logogrammes in the city. Van den Eeckhout preferred contributions by well-known authors such as Hugo Claus or Jan Decorte, while van Heirseele would not concede to that distinction. Different perspectives clashed and the duo decided to go their own way. But where to go?
Hans van Heirseele: "After a while, I wanted to start anew, with small exhibitions and little fuss. I had met my girlfriend?s Kristel De Buck by then and she had some spare space at home and she liked the idea too."
"We want to work outside of the commercial scene. This is our third show this year. Before, we had Dirk Peers, and we started with my brother >Herr Seele. At >Beverhoutplein (close to Sint-Jacobs, note by DP), we had fourteen shows in one year. I want to have that flash-effect here as well. The exhibitions have to be short. I's a pity that we are now situated away from the city centre. At Beverhoutplein we were in the centre and we got a lot of passing-by visitors." carels.

#8 Title of a short story by Guido De Bruyn (published in 'The Brakke Hond' nr 29, 1990). Guido De Bruyn uses the name of the then recently founded society as a title for a short story ridiculing the contemporary art scene. As director of the BRT chronicle 'Kunst-Zaken' [A weekly program about art at the Belgian (Flemish) public Radio and Television BRT] he was of course in on the practices of the local art scene. The story doesn't really figure as an homage. Rather, the reader is lead - wrongly - to believe that precisely Croxhapox is an example of the usual myth-creating reflexes of the contemporary art scene (intellectualising concepts creating nothing but embellished air, etcetera).

#9 Croxhapox is a lovely town. >meanwhile [inmiddels]

#10 Fragment of a letter in which the word croxhapox first appears (correspondence Hans van Heirseele/Guido De Bruyn; August 8th-September 8th 1989, see also #1) Title: THE MAN WHO KNEW BETTER AND LET HIS HAIR GROW. (paragraph 1 introduces a certain mister Levelly or Meanly. Paragraph 2:) Upr Utitut smiled when he closed the book and took a cadmium sweet. Tasty, he thought, those bleu ones have a nice aftersound.
Croxhapox, he said, I don't want to bother you with a rigid, or let's say with a far too intellectual and abstruse approach to the phenomenon but, look, we have a problem. There is no more art. Art is done. Nothing is left. And neither is there time to do something about it. Because, to make art. What's up with art? do you know? all day I have been thinking: what do I want with art. I've got 37 trillion objects of art here in front of me. And, what kind of art? Ask me: what is art? What is art in our time or what is art in any, their times? See? And if so, I mean, if we are talking art, if it is meaningful, today, in our time, do you see. Consider this, read this: the answer, time will show. What a ridiculous generalisation, man! Time! Time has given answers to EVERYTHING, hasn't it. And of top of that, that definite possessive pronoun "our". As if I were only in their time and no other time, as if they only deal with their time, see, and not with another time. Look, What they don't understand: abstraction is thinking itself. Time! Time, time, time. Even a single second is a dropping of the abstraction. And what for that ass, what's his name again. Hey, got another blue? Sure, dude, listen, you better get into oils if you get my drift. No, no, I'm into cadmium. The blue, please. Quite right, hmmm. Isn't that a spot of rusty brown, there, no, yes, precisely under that button on your left. A patch of rust, yes, surely, a rusty patch. Right. What said I. Behold, what is it I meant: a shadow of ignorance veils the approach of the guys from the Pomoproleticum. THE ARTIST, screamed Croxhapox, tearing its contra tenor with a shrill vibrato, the artist resembles the ko ho ko honey kong king who suddenly lost it all, cock lost, stirrup lost, and then, even as lost is lost, refused to step down! Lost all! Stirrup lost! Cock lost! And doesn't step down! Doesn't! Because he thinks, this, he thinks, this nihil is my last invincible stronghold. This nothing, never, not, they won't take it from me! Never! Not!
Mean is no verb, barks Upr Utitut. And you have been snouting my tapes again.
Ney-ever!! Ney-ey-ey-ever!! Ney-ey-ey-ey-ey-ey-ever!! sang Croxhapox. Sung, tried to sing. 
Something's wrong with your tape, forgive me old boy, 'cause I always have to remind you of everything, I think, really, you ought to start doing something about it. Moreover, look, I'll tell you, invincible it is, certainly, the far lost stronghold, because it is nothing, but ultimately lost, unreachable, no, quite on the contrary. I'll show you something, he said. He bent over to the dashboard. I'll fastforward... See yes, the left screen, see, at the top...
Croxhapox did an entirely unintended pirouette and stalled at the breastplate instruments of Upr Utitut. Any culture dissolves in its own air, he read. Utitut threw in some sparkling, the whole breastplate dashboard was covered in flickering red lights, some of them resembling a nipple, the forbidden teat, the Teat of all teats, the Axiomatic ArchTeat.
Pressing that button was undoubtable. It was. A mistake? Oh god god, thought Croxhapox, what a nice tasty nipple, Archteat, sublime primal knob, nob, knows, noose, noise, one small mistake, he imagined, one small and teeny weenie twinkle of a mistake, humpty dumpty, only one: what would happen if one touched the nipple? Upr Utitut stared before him, expressionless, silenced, crestfallen, down in the bottomless pit of self-enveloping riddles. Seek peek teek, murmured Croxhapox. With the top of his finger, he stroked the shining nipple. The godly vermillion of the teat."
So it continues for a few more pages, until the reader of the letter arrives at the ultimate corner of a penultimate page: "Croxhapox dropped the page at the floor of the spaceship. For some time he stood, godstruck, staring in front of him. He felt empty, in an unfathomable way empty, devoid, inexhaustibly empty. Urp didn't flinch. He stood in exactly the same position, golem like, the triumphant cataclysm of a statue. But what disturbed Croxhapox... He hadn't dropped the page. No. He hadn't. No, no, it had slipped between his fingers, with no way for him to save it. On top of that, the rightside eyelid closed.
A vague tremble, a shiver, the faint sizzling of an echo, oh, oh, old boy, forgive me, being greased, a shadow, the shadow of innocence. To speak in our stead? Oh, yes, quite so. But who remains silent in our place? Silence is our own doing."

#11 ,whataboutcroxhapox', mailart project (2006-2007).
Reaction of British artist Alan Brignull: 'CROXHAPOX - what a strange word! Is it Cyrillic? No - it starts like 'cross' and ends with 'pox'. In the middle it looks like 'hoxha' maybe it is Albanian!' Best wishes Alan Brignull/

 
 

Verzamelwoede - April 2007 (Abbey Maagdedale, Oudenaarde).
Drawings and clippings from the private collection of Sjoerd Paridaen. At the 50m long table in the upper gallery of the abbey are mail art pieces from the collection of Frips - works by Ryosuke Cohen (Jap) and Herman Kruiskamp (Nl) - and, next to contribution by pupils of the art school [Tekenademie], a large part of the correspondence between Sjoerd Paridaen and Hans van Heirseele.
The work by British mail artist Robin Crozier, collected by Sjoerd in a bag endorned by mail art patterns, contains hundreds of scribbles and clippings, urgent, playful, naive, and remarkably unpresumptuous and simple.  

Larry Walczak on the work of Jim Torok: His work can be likened to that of underground comic book legend Robert Crumb to some degree. However Torok's art
see Torok, Jim

happy room

Verwée in the first, small space in Lucas Munichstraat 76, a space which has in the mean time transformed into a media space and and doubles as an extension to the cafetaria. The cube is a wooden construction of approx 2m80 by 2m80, with a staircase at the front. Above is a platform more or less halfway between floor and ceiling of crox1. The wooden construction is a kind of niche. The entrance is a lot more narrow than a standard doorway, creating and reinforcing the effect of a cel or a catacomb. 'Happy Room’ as a name, refers to a similar crox project from1991.
After Adriaan Verwée's project (crox 147/ September 2005) – the first in the cube or the ‘Happy Room’ – some more artists used this space, a.o.

 

 

 

 

 

 

 

 

 

 

 

 

 

 

De eerste editie van de Curieuscollectie vindt in 2013 plaats. De hoofdprijs van het Gentse concours is een expo in croxhapox. Dat geldt voor editie een, twee en drie.
Laureate eerste editie: Wivina Ockier. Expo 2014, presentatie in de zaal voorin.
Laureate tweede editie: Leen Van Tichelen. Expo 2015, presentatie in corridor en backspace.

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