^ICu

^{Ongoing installation, PVC tubes in copper, Nylon, Pillow filling, thread}

^{This ongoing installation is a step or process towards creating a new relation or language between artist and art as an extra tool to navigate or roam the complex networks of our discriminating habits.} 

^{This process results from an interest in and reflections on the ability to temporarily claim a space. Which aspects are relevant in this respect? This work is a reflection on the diverse bodies and identities that are hidden but are surely present, moving, creating and existing in the world of arts.}

^Contact

^{absasissoko@hotmail.com}

^{instagram @achrisi_}

^{Future Memories}

^{gpt-3, html, php, diaries, google docs}

^{Dimensions variable}

^Amandas

^{people, wigs, makeup, clothes}

^{Dimensions variable}

^24.06.2022

^{23:15 zurich, forchstrasse.}

^{I have so much Chocolate left.} 

^{And I still need to pay 290. Chica ald bas}

^{With the sex-thing we never}

^dinner 

^{there would're been something going on. But with his boch-} 

^{friens there is just too much}

^{too much hotness.}
 

^{The future is being written digitally. AI writes the memories of tomorrow. The artist uses the language-trained machine learning model "gpt-3" to generate her future life moments. Real and fictitious lines from her diaries serve as a basis. In her work, Amanda E. Metzger (1992) deals with the themes of sexuality, love and interpersonal confusion, using the interfaces between humans and humans, and between humans and AI. the artist holds a BA in fine arts from the Zurich University of the Arts and she lives and works in Brussels.}

^Contact

^{amanda@metzger.love}

^{www.amandaemetzger.net}

^{Instagram @amanda.e.metzger}

^{Some Birds Are Not in the Garden}

^{Canvas, paint, clay, cardboard, paper, tape, booklet.}

^{Anastasia Parkin’s work explores the artist’s position as a woman in a city through various interactions with nonhuman species.}

^{A stealer of words. Bird houses not fit for purpose. Brittle-boned monster lying in wait.}

^{Power plays and puns produce layers of material and meaning. Humor and pain sit so closely that occasionally humor must pull his jacket out from under the bottom of pain. Pain winces and turns to the window when humor laughs so as not to catch his spittle.}

^{The work finds moments of serendipity through a play with modest materials.}

^{It is an accidental manifesto for observing. Careful waiting is balanced by a need to act: Act out.}

^Contact

^{anastasiaparkin98@gmail.com} 

^{Instagram @anaparkinart}

^{How low can you go?} 

^{Sound, video, light and limbo-machine}

^{(limbo-machine built by Elias Bonneux)}

^{Variable dimensions}

^{Life goes up and down}

^{Life goes from smile to frown}

^{First above, then under ground}

^{We get born and then we die}

^{In between we’ll laugh and cry}

^Contact

^{annadesutter@gmail.com}

^{Instagram @aaannnnnaaaaaaaaaaaa}

^Resurrection

^{Performance, 20 minutes}

^{Resurrection was put together using Beyza’s fictional thoughts, post-its, phone drawings, and texts that she collected throughout the school year. She starts by collecting ideas, thoughts and memories. Besides, she is interested in games and Greek mythology. Beyza brings aspects of all her collections together into a performance. In Resurrection does she want to be like Dionysus: joyful, rebellious, savage, and ruthless? Or perhaps a god, like Dionysus? She has been doing theatre work since 2012; this also benefits her performance. She speaks three languages while performing: English, Turkish and Dutch, thus revealing the different aspects of herself and the characters that she uses in her performance.}

^Contact

^{beyzatspnr@hotmail.com}

^{Instagram @beyzatspnr}

^Contact

^{Willem Coosemansstraat 55, 3010 Kessel-Lo, Leuven}

^{Non-negotiable Deal}

^{The only way to negotiate a non-negotiable deal is to do research on why it is impossible to close the deal.}

^{Sometimes, a deal becomes non-negotiable when emotions are involved. It is important to remove all emotions to be able to close a deal.}

^{There will always be deals that you can’t turn around, either because the other party eventually decided not to negotiate or because nothing you say or do will change their mind. Don’t linger over it,  just stand up, wish the other party good luck, and leave the negotiation table. Don’t waste your time wallowing in self-pity. You can’t deal with everyone, but you can try to improve so you can make a deal with almost anyone!}

^Contact

^{franciscopcorreia20@gmail.com}

^{Cuddles is what I’m craving for}

^{installation with plaster sculptures, prints, cushions, moving blankets and a video projection.}

^{Dimensions: variable.}

^{Gilles’ work is about communication. Part of it consists of the conversations he has with others about his work. Sexuality and gender are also a part of his work. Because of our history, an important aspect of gay culture, remains hidden in the dark. Can I come out of the closet? Can I truly show myself? Nowadays, nudity is normalized and intimacy has often got lost in gay culture. Gilles chooses to photograph his own body in a non-sexual way. He often works with the mental perception of physicality. It’s about feeling physically comfortable in one’s personal space. In this series, he has tried to communicate the feeling of longing for hugs and physical comfort from the people close to him. These pieces encourage us to question our own mental perception of  our own body. What does it mean to touch something or someone? How does it feel to be touched?}

^Contact

^{gillesjozeflauwers@gmail.com}

^{Instagram @gilles_jozef}

^{Zyzz, CR7 & Robert Pattinson}

^{Mixed media} 

^Contact

^{indigodeijmann@icloud.com}

^{https://indigodeijmann.org/}

^{Contact
geertsjudith@gmail.com}

^Hermit

^{Oil paint, acrylic paint and spray paint on synthetic canvas over linen.}

^{120 cm x 90 cm}

^Contact

^{kssoederberg@hotmail.com}

^{https://www.instagram.com/kjartan_soderberg/}

^{SayCheese, oil on canvas, 100cmx140cm}

^{Oma’s op bezoek, oil on canvas, 120cmx160cm}

^{Badkamertegels, acrylic on canvas, 210cmx210cm}

^{Freeshow, oil on canvas, 130cmx170cm}

^{Untitled, acrylic wool on burlap, 118cmx173cm}

^{Pissebed, acrylic wool on burlap, 105cmx200cm}

^{What we see, is an alternative world with multiple possibilities. A story that you can keep rewriting, combined with elements from Lisa’s life and obsessions. It’s premeditated or impulsive. It is mainly an escape, but it doesn’t have to be.}

^Contact

^{lisa.wolfs@hotmail.com}

^{Instagram @lisawolfs}

^Contact

^{rebecca.quix@hotmail.com}

^{Battle, 100 x 200 cm}

^{Scooter 3, 120 x 180 cm}

^{Scooter 4, 120 x 100 cm}

^{Koffiezetapparaten & waterkoker, 75 x 115 cm}

^{Pre-operative notebook, 29,7 x 42 cm}

^{Post-operative notebook, 21 x 29,7 cm}

^{Paintings that are embedded in a masculine and feminine experience of the home and its surroundings. What do scooters and domestic appliances tell us about design and people? A red beam blocking insect-robot-like scooters parked in the public space as if they were claiming hormonal vital space. Another model is standing alone, on three wheels, like a giant toy. Inside, steel appliances form a group at the heart of a kitchen. What do you prefer? An individual espresso, a large coffee jug or boiling water? Also included in the show are notebooks with nervous and soft abstract drawings. Work that paves the way for improvisations, like the large battle painting with sugary colors. Next to them, some post-operative sketches in black-and-white.}

^Contact

^{roshanbxl@gmail.com}

^{instagram @roshandipuppo}

^{Hands rising over hands. Ropes braid around limbs.} 

^{Ropes braid around fingers. Ropes braid around}

^around

^{a round}

^-

^{going underground}

^{going under}

^-

^ground

^-

^{go in}

^{g und er g}

^-

^ground

^{go round}

^{paper and wood}

^{The premise of this work lies in the conscious perception and inclusion of the working process, the immediate thoughts and feelings.}

^{Through reuse, repetition and erasure, a routine of creation and change is formed. This routine  - a working method -  is based on translation and transformation. Ephemeral and static elements meet, states and conditions shift and push. Supposed opposites begin to rely on and relate to each other.}

^{Die Grundlage der Arbeit liegt in der bewussten Wahrnehmung und Einbeziehung des Arbeitsprozesses, der unmittelbaren Gedanken und Gefühle.}

^{Durch Wiederverwendung, Wiederholung und Ausradierung entsteht eine Routine des Schaffens und der Veränderung. Diese Routine als Arbeitsmethode basiert auf Übersetzung und Transformation. Flüchtige und statische Elemente treffen aufeinander, Zustände und Bedingungen verschieben und schieben sich. Vermeintliche Gegensätze beginnen, sich aufeinander zu stützen und in Beziehung zu treten.}

^Contact

^{sara@ebmnet.ch}

^{All the things they didn’t say}

^{Installation with found objects, plaster, wood, fabric, straw, photographic prints on mixed media.}

^{That petrified smile lasted way too long. A twirling of the hair, and a change of posture. A nervous gaze to the floor. Something is wrong. He wants to know what you didn’t say. It seems more interesting, to me. What you said, I already heard it before. I already said it.}

^{Hablar paja,  literally ‘speak straw’, means to talk without saying anything. It refers to the action of filling your mouth with words that lack meaning. It is not easy, though. To achieve the status of the paja speaker, you need to know the interstices of language and the artifices of conviction. The audience needs to think that they are facing an efficient communication while following the rhythm of accomplished, or unaccomplished, nouns and verbs. The message does not exist, we keep it for ourselves, for yourself.}

^Contact 

^{sarapena.z@gmail.com}

^{https://sarapena.cargo.site}

^{Significant Otherness}

^{These works are about some wounded nonhuman animals that I met.} 

^{They are coded in the wall and form a kinship. Some died, some went back home.}

^{They were made one after the other and present themselves in the same way.}

^{They are the 'love cats' and the 'hounds of love', 'cats in the cradle' and a 'black dog'. And some others too.}

^Contact

^{Bashya.s@gmail.com}

^{https://www.shirabarak.com/}

^{Instagram @shirabashya}

^{How Do I Get to Carnegie Hall?}

^{4K video, color, 2022, 16’}

^{An essential difference that distinguishes Purgatory from other unearthly places, such as heaven and hell, is that it is not an end point. Purgatory is like a passage, though it has no course. People find themselves in a state of repetition, in which a permanent choice is always postponed. It doesn’t hurt to be in Purgatory, but it gives no real pleasure either. For most of the time, the echoing is just a bit annoying.}

^Contact

^{siddankers@hotmail.com}

^{https://www.siddankers.com/}