Behind The Corridor reveals the source and the curse of Zoning, as well as the antidote to Zoning that is imposed on human bodies and minds by Capitalism and its variant selves. Rigid human dimensions like race, gender, sex and more end up serving solely Capitalism instead of individuals. (see Trans-Architecture: Performing Power figure) 

 

The brutal industrialisation of Europe was only possible thanks to the brutal expansion of capitalism over the peripheral world, call it the South, ex-colonies and other unprivileged geographical regions and communities of the globe. Profit and the labour of human labour exist solely to feed and maintain capitalism and its architects residing in the metropole, the main epicentres of oppression, in power. 

 

To control the human ecosystem, Capitalism installed infrastructures of oppression, arteries feeding the system with zoning. Big concrete lanes, buildings, monuments… I call this the Trance-Architecture. The arteries of oppression consist of concrete membrane surrounding an iron, steel or aluminium (prefab) framework, the core. The arteries contaminate and perform zoning upon bodies and space and maintain the bodies into a state of trance.  

 

In order to counter zoning, Trans-Architecture creates a dens infrastructure of human flesh. Human bodies are reorganised to create an organic based social and spatial architecture disconnected from the infrastructure of oppression. This act of dissociation from the oppressing mega infrastructure, reveals a self-sufficient organic infrastructure of interconnected organisms. 

 

All Kwanga (silicone) organisms regroup several human organismes and entities freed from zoning. The human body and mind is reinstated as the Trans-Capital, the true epicentre or monument of life and change. The infrastructure of oppression is relegate to servitude, becoming merely an accessory, a socle on which organic infrastructure can deploy.  

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Within each (silicone) organism lives a community of human entities connected through a vast network of nerves. All entities share feelings instantly. Their interconnections gives each human entity agency but also responsibilities. Responsibilities to help each other when needed, because pain and anxiety is shared. Delivering the other from pain delivers yourself from pain. Every entity has more agency because all feels what one feels. The entities live as a collective, as one.   

 

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

 

The installation 'Behind The Corridor' is part of the group exhibition 'Malabou in Malibu'.

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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)