Denicolai & Provoost

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Simona Denicolai / Ivo Provoost, a.k.a. SDIP, form an artistic tandem.
Simona is Italian, Ivo Belgian: their own individual creative identities are merged under the strength and consistency of their joint action and work.
Many of their interventions (video, installations, art-chitectural and public space interventions) originate a questioning of the identitarian space (whether it be in a mental, socio-economical or physical acception) of the individual in society and public space.
And, of course, the first social cell, the primary source of confrontation and exchange with alterity is the couple…
When asked last year to participate to a group show in Locaal 01, an art space with two branches, one in Breda (NL) and the other one in Antwerp (B), they filmed a performance using two identicals rental limos, travelling at constant and similar pace between the two towns, crossing the now virtual border between Belgium and The Netherlands: the resulting video was
called Noir between the sexes. Replace Noir by art, and you will also have a good visual metaphor of the synergy of their creative thinking and acting.
A relevant and recurrent feature in their work is the subversive manipulation of socio-economical structures. Invited last year by the S.M.A.K., they managed to convince police, firemen brigades, and, of course, museum and town administration to participate/allow the following performance to take place in the warehouse at the back of the museum: Ambulances, police cars and firemen’s trucks progressively entered the warehouse, activating their emergency sirens, participating to a surreal ballet without apparent purpose.A vinyl edition keeps the trace of this unusual concert…
With SDIP distinction and limits between public and private sphere are consciously blurred: Private spheres become public and public space is appropriated for private use.
For a subsequent group show curated by Mtts, Tijdelijk onbewoonbaar verklaard which took place last summer in the Lakenhallen in Ieper (the Flemish town emblematic for Belgian resistance in WW1), they proposed Umfblyzer: a “half star” hotel. Some beach cabins were mounted on either side of the triangular courtyard of the War Museum housed in the building. Each cabin was fitted with a mattrass and customised sheets. SDIP lived there for the duration of the show and ran the hotel which was open to everybody upon reservation, almost for
free: you just had to pay the breakfast costs and would then wake up in the morning with the aid of the belfry, the maintenance staff and the, to say the least, puzzled tourist crowds queing up to have access to the museum.
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extrait de :
Crossing the borders / Art at the crossroads: some young artists from Belgium
by Emmanuel Lambion
paru dans Tema Celeste


Form Follows F***tion
by Bram Van Damme

"Form follows function was the dictum of High Modernism. (…) As our model of reality has become more layered and less concrete, art has moved increasingly into the realm of form follows fiction.” Jeffrey Deitch - 2002

In 1919, after the bombing and total destruction of Ypres, Winston Churchill proclaimed that the Commonwealth would preserve the ruins of Ypres in honor of the hundreds of thousands of British dead.
I should like us to acquire the whole of the ruins of Ypres. No ground is more sacred to the English race, explained Churchill (1).  [...]

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