De reële grenzen van de ruimte worden door deze videoprojectie gemanipuleerd; En welke ruimte ligt er achter de opengemaakte ruimte?; De leegte die mensen van elkaar scheidt. (uit Over het bedrog van het gezicht, de leegte en de grenzen van de ruimte van de representatie, Sofie Van Loo)
Begrenzing; Thomas Karz (crox 137). Afbakenen van het territorium van het binnensijpelende regenwater.
Nog meer begrenzingen: Als je vanuit een helverlichte kamer het donker inkijkt, kan je slechts met de grootste moeite iets onderscheiden. (Johan De Wilde, Particles p.40) Eerste herinnering aan geluid: het geslacht van mijn moeder dat als een gevangenispoort achter me in het slot valt. (op. cit. p.55)
border 'this video-projection manipulates the real borders of the space / a void separating people' (from a text by Sofie Van Loo, on Alda Snopeks crox 139 project Tunnelvision). Other half of the crox 139 project is a work by Els Soetaert: the naked performer stands in a semi-transparant, iglo-like and rectangular box made from transparant tape. The multi-layered box makes a transparant border hiding the naked body./ A video by Nathalie Nijs (crox 138, april 2005) showing a green borderline of brushwood and hedges.
Tomo Savic Gecan, crox 65 (1997), work in situ: a huge piece of glass, framed inside the wooden structure of a double door (the door itself had been removed in an earlier stage), divides the basement of Aannemersstraat 54 in two separate spaces. The work is re-installed for the 2000 retrospective The First Ten (De Eerste 10), final project of the Aannemersstraat-period.
Borders by CarianaCarianne, crox-book NR 3. Release June 2006. Ultimately the only real border here is skin./ On a different level mind itself offers most often a clearly defined borderline./ Each project or exhibition is a bordered event; time is restricted to some few weeks (or moments) ; the thing seen often remains unnoticed; communication gets reduced to a line or two./
Brainbox unit 3 (Johan De Wilde, Peter Morrens, Ward Denys): a wooden wall obstructs the passage-way to the main brainbox arena (crox3). The obstruction is painted grayish dark and shows the title of the intervention: The Head. No visitor is allowed to enter the brainbox arena. The only way to observe the performer, captured inside the arena, is from a small viewpoint, constructed on top of the terrace. See the the brainbox-file. This hide and seek (or hide and look: work and/or spectator hidden inside a framed space) is a usual transcription in Morrens oeuvre and appears in a different, more remote way in works by De Wilde and Denys./ The fourth brainbox unit (Michaël Borremans, Dirk Zoete and Tinka Pittoors) creates a double-framed environment: the largest frame follows the outline of the plaster arena, final result of the intervention of unit 3; a smaller wooden frame is constructed around its center, changing the central piece in a shrine, or magic box. Here, small figures can be seen at work within the borders of a large, rectangular field. The title of the intervention by unit 4 is Boxbrain: Anarchistic ploughing (boxbrain: anarchistisch ploegen)./ Brainbox unit 6: one of the spectators, trespassing the borderline of an unspoken code, unsavoury writes silly signs and stupid words on the phosphorescent carpet with a small flashlight, thus setting an example for other visitors to act likewise./
'On video I have seen the homunculus at work and what I saw was good. Obviously a border has been reached. Not only perplexion but Semtex too, right in your face.' (a fragment from be objectiv share the collectiv by Peter >Bondewel, a short essay on >brainbox).