m.wannes[at]outlook.com
a selection:
Cultural Cleansing
In collaboration with Tine Deboelpaep,
at Salon de Lavage, Nomad City, Fax Hasselt
"In their thought-provoking work titled 'Cultural Cleansing,' Tine Deboelpaep and Wannes Missotten present a compelling vision of a near-future where the foundational pillars of our social and medical safety nets crumble under the relentless pressures of Post-Fordist capitalism. In this dystopian landscape, cherished practices like self-care and psychological support are eclipsed by the vacuous allure of consumerism. The sacred rituals of collective care and the hope of extending a helping hand give way to an era of pronounced hyper-individualism. In this new reality, care becomes a commodity: exchangeable and privatized."
"The Sphinx, depicted in this work as made of soap and harassing the city of Thebes, is not viewed as a curse but rather as a blessing. What if the Sphinx had not been swiftly driven away by the famous tragic hero? What critical, and perhaps even revolutionary, questions might she have posed to the inhabitants of the walled city? We prefer to leave the 'sabot' in the machine a bit longer before recklessly resuming full production."
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Rooftop Affect
at Hortus Horti Horto, Kalf Hasselt
She finds herself on a slice of urban rooftop, recognizing the concept of a skylight, accompanied by the scent of weathered roofing materials. Above the upper floors of old townhouses, nestled on the fringes of city centers, within working-class neighborhoods.
»The installation assumes the shape of a kiosk, functioning as an analog vending machine that presents editions of the Po-po-portfolio-project.«
As she inserts spare change into the vertical slot and retrieves a booklet from the lower cabinet, the window mirrors fleeting images of AI-generated clouds gone awry. Dry weeds rest in the gutter. She could be sharing a sweaty embrace with her loved one under the balmy purple heaven. Or watching alone with a can of beer in hand as the sun sets. While she stands there, she might feel a shiver, as if she's considering jumping down to the dark street below, where the black asphalt shines.
Po-po-portfolio/Portfoli-oli-olio
Booklet, A4 stapled edition, with supplements and a foam glider plane. Written in Dutch. Distributed at Kalf Hasselt and by Kalf at Apples and Oranges, Jester Genk.
Cold fries take a swim in fizzy cola, diving deep into the drowsy acids of my stomach.
Let's plunge into a collection of crashing Pulp-esque short stories, filled with societal mistrust and a touch of harsh, perhaps even awkward, nihilism. Amidst it all, glimpses of hopeful love and a cozy spot between the warm blankets (toes touching) emerge, offering bittersweet endings. Set in dark city corners, among swirling dust and yellowish streetlights, individuals struggle to navigate an intricate maze of emotions and philosophies, destined to never truly understand one another. Personalized social media feeds, sizzling brain convolutions, and peculiar behaviors tear larger holes in the once secure net. But fear not, at the finish everything remains unchanged — it never gets worse, but certainly not better.
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Gallo-Roman Tin Nails/Pete's Wonderful Gift
Groupshow at Jan van Galenstraat 83, Utrecht
Pete, a cherished fictional character, holds nails in high regard as indispensable construction materials. As a thoughtful gesture for the new Jester building in Genk, previously recognized as CIAP and FLACC, they serve as an ideal present. This choice aptly highlights the practicality and significance of these humble ancient artifacts in the realm of institutional creation, symbolizing the vital role they will play in the hands of the construction workers who will bring the new showroom of Jester to life.
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5-Minute Break
at H Y P E R M A R K E T, Kunsthal Ghent
[link]
Built as a gift for the former department responsible for shaping cultural policies at the Provincial House of Belgian Limburg, these scaled-up ashtrays were meant to be raw decorative accents, enhancing the ambience for civil servants during their breaks or open-air meetings. With practicality and adaptability in mind, these distinct concrete modules seamlessly interlock, providing the opportunity to expand and create a larger island structure within the garden. Unfortunately, the piece was refused as the department ceased to exist.
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Mad Reckless and Furious Loathing
Booklet, A4 stapled edition, with supplements. Text in English. Distributed in Antwerp.
"Roughly between 2016 and 2021, Bernardus Baldus, and I (Wannes Missotten) led a more or less organic and independent assembly group known as sub. [IV]. As an entity, we organized occasional shows, gatherings or performances at various locations in Antwerp and Utrecht. During this period, we collaborated with numerous artists from different backgrounds who not only contributed to the collective's vision but also enriched our exhibitions with their stimulating angels.
Through sub. [IV], we sought to address and express our thoughts on, as well as our bewilderments about, certain issues prevalent in the cultural and broader world. These included outdated structural principles, unjust institutional
exclusion, the overwhelming presence of cheap images in the digital age, the impact of advertising, and how the language of money influences artistic perception. We also questioned why so many take culture and their artistic practice so seriously, like a descent business, which we found perplexing at times. Maybe even anti-logical that this was happening in this epoch, I mean everything smells like a farce. Why play the game if you know the rules are ludicrous …
Initially, there might have been a tinge of cynicism towards many things that crossed our paths, but over time, we gained a deeper understanding of the complexities twenty-first-century artists face. The economic and political realities within the sector can influence artistic or institutional choices and lead to profound shifts in perspectives.
… Anyway, whatever we did, it was most of the time drenched in heavy energy."
