You can find more photos about this project on the instagram page of Wool Publishing:
18 september 2022
Wool Publishing is pleased to presents the exhibition [Trace] New works and a little workshop by Yoko Enoki. The exhibition takes place at Morpho, the organisation caring for artist in residencies and studio's for local artists in Antwerp. Many thanks to Morpho for their support.
AN EXHIBITION BY
Opening of the exhibition with paintings by Yoko Enoki and with the artist book To-no made by Yoko Enoki, Koyuki Kazahaya and Eline De Clercq.
Workshop by Yoko Enoki: tracing each other, drawing our outlines on a big paper. This little workshop is gratis and welcomes adults and children.
[Trace] is an exhibition that welcomes the return of Yoko Enoki
and supports international sustainable artistic relations.
For more information please find:
18 september 2022 from 12 AM - 8 PM
Ploegstraat 27 Antwerp
To-no is a self-published book about words. The book contains the collected texts by the artists Yoko Enoki, Koyuki Kazahaya and Eline De Clercq. These short texts borrow words from Dutch, English and Japanese that can’t be exactly translated in order to explain what can’t be said in our own words. The texts are both in English and in the first language of the artists. This first publication is an unedited limited edition of 25 handmade books riso printed at the Frans Masereel centre, none of the books are for sale. Instead the book functions as an artwork and can be added to exhibitions and when someone wants to read it they can find the entire text online:
The gesamthof is a communal garden project at Ploegstraat 25, it started as a garden activity in 2019 in the old monastery garden.
The ATLAS is a series of drawings mapping the geography, ecology and wildlife in the old monatsery garden.
Wool Publishing invited Koyuki Kazahaya (1987, Japan) to talk about her work, books, print, drawings, literature and cultural differences. She gave an artist talk as part of the Downtown Hoboken exhibition. For more information about Koyuki Kazahaya please visit https://koyuki-kazahaya.blogspot.com/
Wool Publishing invited Farydah Moumouh (1978) to talk about her work, the influence of culture, photography, books, philosophy and literature in her life as an artist. She gave this artist talk in the exhibition Downtown Hoboken on 17th of November 2019. For more information about Faryda Moumouh, please visit https://www.faryda.com/
Artist in Residency, Artist Run Spaces, Contemporary Art Galleries & Art Centers in Tokyo.
When I was in Tokyo I was not looking for the famous and 'arrived' art, but interested in what happens right now on the groundlevels of art. As part of Wool Publishing I'm working on a report of what is happening here. This is a subjective list with information of what I found during my travels, it is not a grading system.
Artist In Residency
3331 Arts Chioda
Tokyo Arts and Space (Tokas)
artist in residence
Artist Run Spaces & Exceptional Exhibition Spaces
artist run space
artist run space
Galleries Promoting Artists
Next to the Museum of Contemporary Art and Kiba park this gallery looks deceitfully small, but that's just the entrance. As it usually goes 'what you see is not what you get'. There's a backspace, covered in virginia's creeper, where cutting edge art is shown and art, design and architecture books are published.
Other projects in 2019:
This talk took place in the exhibition 'Tell Me About You' in Den5 gallery, Tokyo.
Curated by Yoko Enoki ad presenting the works by Yoko Enoki, Ada Van Hoorebeke, Nele Tas, Koyuki Kazaya and Eline De Clercq. The exhibition combined oil paintings with watercolours, charcoal drawings and batik in situ wrappings.
The artist talk was set in the exhibition, where I added extra prints with references, context information and representations of the other paintings that are part of the series I usually work on. The prints were a temporary installation only for the duration of the talk.
The talk started with a situation sketch of Antwerp, a city with a lot of contemporary painters. From there we went back and forth to painters as Judith Leyster and fashion photography of today.
At the end of the talk was a sketching collaboration, where everyone could join in the experience of noticing and noting down in black and white. The sketches, mostly of plants I had added to the exhibition, were souvenirs and everyone could keep their own sketch.
For International Woman's Day I want to correct the title of this painting: 'mad Meg'. Without authority or any notes from Bruegel, the title was given to this painying 40 years after it was finished. The man who named her 'a mad, plundering thief' was wrong, but he started a consequently wrong interpretation that still is teached today. It's time to look at it in an objective way, and see what Bruegel actually painted.
When you have an objective look at some of the details, you can 'read' the painting for what it stand.
- She is old, with grey hair her eyes wide open and looking traumatised
- The haphazardly harness has a sleeve inside out.
- She's wearing a veil, very faintly visible.
- She's out of breath, running up a hill, carrying her most precious or needed belongings. If you're looting, would you bring a plain heavy iron pan and clay jar?
- She's not in hell, hell came to her by monsters crawling in from the dock.
- That's the alarm bell warning the villagers for the looting monsters that just arrived by boat.
- Not a single normal man is depicted, but the woman are all right.
- The women have to fight off the monsters that try to steal their belongings, but the house is on fire so they have to take everything out. This results in a chaos of directions.
- Some people see her as a giant standing amidst small women, but when you compare the composition of this painting to other paintings by Bruegel and his contemporaries it seems the other possibillity is more likely: she's running up a hill and we can see past her in the distance what she is running from. This makes her a normal woman, an older woman out of breath carrying heavy belongings while fleeing from the horrors of war. As a painter myself, this makes sense, it is something you would want to communicate.
The woman in the middle is alone, this is what possibly misdirected the interpretation. There aren't a lot of paintings like this, showing a strong woman going her own way. My way of looking at the painting doesn't have to be 'right', without an explanation by Bruegel himself it is impossible to tell what he really meant. This doesn't mean we have to keep telling lies about 'mad meg', instead we can make our own interpretation. My suggestions match with the 'normal' details: the kitchen knife, the water jug, the simple shoes and commonly used perspectives. Let's not call her mad any more, the inscription added to the paint says 'dulle' and could mean a lot more than simply 'mad'.
IN THE PINES
In the Pines
an exhibition by Tramaine de Senna & Eline De Clercq
opening: vrijdag 16 November 2018, van 18h tot 22h
In a big city hotel room, stands a lobby employee watching frightfully as a herd of dogs attack a
wild stag between a couch and en-suite bathroom.
With a vacuum cleaner on plush wall-to-wall carpet, a pair of legs glide past in the yellow light of a floor
lamp. The cleaning lady, who begged the goddess Athena to rescue her, was metamorphosed into
In a crowded Japanese metro, every occupant presses too closely together; suddenly a young woman,
lifted atop a white bull, is unable to get away. This would catch the news.
If we rescue someone from a precarious situation, would the metamorphosis into a laurel bush be the
first choice today? Or, would one turn her into a cow?
‘Where will you sleep tonight?’ The sculptures are like Karyatides who have run away from the
Erechtheion, and now lay at rest with the sheets draped along their bodies. The folds follow the curves
and movements of their limbs. In the morning they have forgotten everything and with Eos, a new
Ovid's Metamorphoses begin with chaos, an excellent start. The entanglement of threads and strings pulled tight, knotted like a blind woman's knitting. When I was a small child, I would untangle my great-grandmother's wool. She would instruct me to be kind, to loosen the strands and it will untangle without breaking.
Haecken en Ooghen | Klapdorp 35, 2000 Antwerpen, België
‘In the Pines’ 17 November tot 09 December 2018 | Za - Zo van 14h - 18h
ANTWERP ART ACADEMY BOOK FAIR
Wool Publishing with Japanese cotton and silk target prints, to be used as patches and signs of vulnerability. Presented collaborative works included with Yukipon (USA) and Yoko Enoki (Japan) as well as the imaginary museum printed in 'NOTICES'.
First table lay out in the Royal Academy in Antwerp, or the start of Wool Publishing.
Yoko Enoki & Eline De Clercq
During Amsterdam Art Weekend 2017 Yoko and me set up a temporary exhibition space with a joined presentation of our paintings. Our guerrilla riso print invitations were distributed all over Amsterdam.
|Riso print by Yoko & Eline left at Rijksacademie Amsterdam 2017|
|Yoko Enoki at Stedelijk Museum|
|Our joined exhibition in Amsterdam 2017|