At the end of the corridor, the source and curse of zoning appear, as well as the antidote to zoning. This has been imposed on human bodies and minds by capitalism and its variants. Rigid human dimensions such as race, gender and sex end up serving Capitalism instead of individuals (see Trans-Architecture: Performing Power figure). (See the 'Trans-Architecture: Performing Power' figure.) 

 

The brutal industrialisation of Europe was only possible thanks to the brutal expansion of capitalism across the peripheral world — the Global South, ex-colonies, and other unprivileged regions and communities. The profit and labour of human labour exist solely to feed and maintain the power of Capitalism and its architects, who reside in the metropole — the main epicentre of oppression. DOESN’T REALLY MAKE SENSE exist solely to feed and maintain the power of Capitalism and its architects in the metropole, the main epicentre of oppression. 

 

In order to control the human ecosystem, capitalism installed infrastructures of oppression, arteries feeding the system through zoning. These are big concrete lanes, buildings and monuments, which I call Trance-Architecture. These arteries of oppression consist of a concrete membrane surrounding an iron, steel or aluminium (prefabricated) framework, the core. These arteries contaminate and perform zoning on bodies and space, maintaining them in a state of trance. 

 

To counter zoning, trans-architecture creates a dense infrastructure of human flesh. Human bodies are reorganised to create an organic social and spatial architecture that is disconnected from the infrastructure of oppression. Dissociating from the oppressive mega-infrastructure reveals a self-sufficient, organic infrastructure of interconnected organisms. 

 

All Kwanga (silicone) organisms comprise several human organisms and entities that have been freed from Zoning. The human body and mind are reinstated as Trans-Capital: the true epicentre and monument of life and change. The infrastructure of oppression is relegated to servitude, becoming merely an accessory on which the organic infrastructure stands.

 

The installation 'Behind The Corridor' shows a glimps of organic architecture in constant movement and evolution.

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The installation consists of 4 works:

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1. Mother ship #1 (2023) / Installation / Steel & latex  

2. Côlon #1_IV (2022) / Sculpture / Silicone

3. Côlon #3 (2023) / Sculpture / Silicone & Copper

4. Côlon #4 (2023) / Sculpture / Aluminium

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'Malabou in Malibu' is a project realized by WARP in collaboration with the Make Eindhoven workshop and the De Fabriek presentation site. For a year, artists John K. Cobra, Niko Hendrickx, Geerke Sticker and Merel Van de Casteele with whom WARP has a close relationship, researched and experimented with various materials to materialize their ideas. 

 

They investigated the idiosyncrasies and possibilities of some special materials. What shape and meaning do you ultimately give to raw materials such as slime, fat, birdseed, rubber, silicone or milk declared unfit for consumption? For today's artist, who is process-oriented and inquisitive, interdisciplinarity is a given. All tools, resources, knowledge and baggage can be used to investigate a question, tackle a problem or explore a subject in depth. Making has become a form of thinking. 
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The exotic title was chosen by the artists and refers primarily to French philosopher Cathérine Malabou and her concept of "plasticity. She argues that structures and forms of life are constantly changing and subject to transformation.

 

NOVEMBER 11 '23 - DECEMBER 3 '23, Group exhibition at De Fabriek, in Eindhoven (The Netherlands)