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Mystic Properties

Saturday 21 April — 1 pm to 3 pm - in English

in the Talks room (Hôtel de la Poste - Tour & Taxis)

An integral part of the exhibition Mystic Properties, these conversations will elaborate on what it might mean to “own” an artwork, focusing on immaterial and instruction-based projects, reflecting on “regimes of ownership” in different cultures, introducing “acquisition scores”, and exploring the motif of “belonging” and “possession”. These conversations feature projects for which the display in the exhibition space is but one component, and which need an additional discursive or performative situation to be fully understood.

Predominantly, but not exclusively, the conversations will be moderated by exhibition curator Elena Sorokina.


  • 1 pm - 1:30 pm: Pierre Bal-Blanc and Annie Vigier & Franck Apertet (les gens d’Uterpan) will dialog about “acquisition scores” and the ways to own instruction-based work.
  • 1:30 pm - 2pm: Vermeir & Heiremans will explain to Hampus Lindwall their Art House Index - a mysterious blend of art and real estate they created for living, working, and fictional speculating.
  • 2 pm - 2:30 pm: Heide Hinrichs will be interviewed by Kasper Bosmans, starting from the question “who owns a translation”?
  • 2:30 pm - 3 pm: Samuel Saelemakers will introduce Joris Van de Moortel’s songs of the incomplete, a collection of medieval-inspired hymns created to be performed but never recorded.
    Ultimately, Joris Van de Moortel will play on acoustic guitar a selection of tunes from his song-book publication, made in collaboration with Mauro Pawlowski.
Pierre Bal-Blanc is an independent curator, former curator at documenta 14 and director of Contemporary Art Center (CAC) Brétigny, France. He is the organizer of the “Phalanstère Project” (since 2003), a series of site-specific proposals that aim at a critical rethinking of the logic behind accumulation of art works. His exhibition sequences “La Monnaie Vivante/Living Currency” in 2005–10 (CAC Brétigny/Micadanses; Stuk, Louvain, Belgium; Tate Modern, London; Museum of Modern Art, Warsaw; Berlin Biennale), and “Draft Score for an Exhibition” in 2011–12 (Le Plateau, Paris: Artissima, Turin; Secession, Vienna; Index, Stockholm) negotiate current and historical analysis of the body and performance strategies in the visual arts.

Kasper Bosmans is a laureate at the Higher Institute for Fine Arts (HISK, Ghent) and graduated with a master at the Royal Academy of Antwerp. He lives and works in Brussels and Amsterdam. Recent exhibitions include: Chip Log, Gladstone Gallery, New York (2018); A Temporary Futures Institute at M HKA, Antwerp (2017); The Words and Days (mud gezaaid, free range), De Hallen, Haarlem (2017); Kathmandu Triennale, Nepal (2017); Poetica_Politica, Foundation De 11 Lijnen, Oudenburg (2016); Decorations, Witte de With Centre for Contemporary Art, Rotterdam (2016); Specimen Days, S.M.A.K., Ghent (2016); Loot, Soil, and Cleanliness, CIAP, Hasselt (2016); Motif (Oil and Silver), Marc Foxx Gallery, Los Angeles (2016); Yesterday was Different, with Marthe Ramm Fortun, KOMPLOT, Brussels (2015); Des hôtes: a foreigner, a human, an unexpected visitor, Spring Workshop, Hong Kong (2015); Little Cherry Virus, P/////akt, Amsterdam (2015); Un-Scene III, Wiels, Brussels (2015). Bosmans’ work is currently on view at the Hammer Museum in Los Angeles from January 28 -May 6, 2018.

Heide Hinrichs
is born in Germany, lives and works in Brussels. She is alumna of the HISK - Higher Institute for Fine Arts, Ghent, Belgium. Heide Hinrichs’ works balance ambiguity and contradiction, telling stories of past emotions, mental states and gestures. Her installations use objects, wood, clay, papier-mâché, rubber and fabrics, arranged in a state of careful equilibrium. Textures and volumes, scale and colors, contribute to a tactile, multi-sensory experience. Her recent exhibitions include Heildelberger Kunstverein (Germany), Galerie Tatjana Pieters (Ghent, Belgium), Seattle Art Museum, Manifesta (Rovereto, Italy), Kunstverein Ahlen (Germany).

Hampus Lindwall is a Swedish organist and composer living in Brussels. He is collecting contemporary art in various forms and formats ranging from paintings & sculptures to videos & websites.

Samuel Saelemakers is a Curator at Witte de With since 2012. He holds an MA in Art Philosophy and Aesthetics from the Université Paris IV-Sorbonne and an MA in Philosophy from the University of Antwerp. Projects he (co-)curated at Witte de With include a.o.: THE NUDE AND THE SAP by Daniel Dewar & Grégory Gicquel; the king, the door, the thief, the window, the stranger, the camera by Judy Radul; Decorations by Kasper Bosmans; WERE IT AS IF by Bik Van der Pol; two thousand fifteen by Mark Geffriaud; Bit Rot by Douglas Coupland; In Light Of 25 Years with Özlem Altın, Zin Taylor, Xu Zhen, Wineke Gartz, Mahony, Raimundas Malašauskas, Germaine Kruip, Camille Henrot, and Freek Wambacq; At In The Age Of… Planetary Computation ; Dai Hanzhi: 5000 Artists.

Joris Van de Moortel currently lives and works in Antwerp (Belgium). Graduated from the Künstlerhaus Bethanien in Berlin (Germany) in 2013, as well as the Higher Institute for Fine Arts (HISK) of Ghent (Belgium) in 2009, the work of Joris Van de Moortel has been showcased in solo shows like Pink Noises, held at the Savannah College of Art and Design of Atlanta in 2016; and Ça vous intéresse l’architecture? Botanical vibrations travel through the air tangled as wires, attempting to play with the rhythmic structure at the Be Part Art Center in 2015. His upcoming solo show takes place at Bozar (Brussels, Belgium) next October 2018, on the occasion of the Baroque Season of the museum. Joris Van de Moortel also took part in the following exhibitions (selection): Ecce Homo at Mayer Van Den Bergh museum (Antwerp, Belgium 2017); at Ludwig Museum (Berlin, Germany, 2015); Boghossian Foundation-Villa Empain (Brussels, Belgium, 2015); Palais de Tokyo (Paris, France, 2014), and SMAK (Ghent, Belgium, 2013).

Vermeir & Heiremans
The videos and installations of the artist duo Vermeir & Heiremans investigate the complex relationship between economy, spatiality, and social reality in today’s highly globalised world. Focusing on the mechanisms of financial structures and the ways in which they produce and generate cultural processes, the duo raises questions about the ever-growing entanglement between urban development, social status, and fetishism. The artists employ financial tools, historical references, technology, and cinematic language to reflect on social codes as well as on the production of value in today’s artistic and non-artistic realms.
Vermeir & Heiremans have presented their work (inter)nationally a.o. at the 10th Istanbul Biennial (2007), Arnolfini, Bristol (2009), Nam June Paik Art Center, Yongin (2010), Viennale, Vienna (2011), 7th Shenzhen Sculpture Biennial (2012), Manifesta 9, Limburg (2012), Argos, Brussels (2012), Extra City, Antwerp (2012), Riga Art Space (2013), 13th Istanbul Biennale (2013), Stroom, Den Haag (2014), Rotwand Gallery, Zurich (2014), Triennale Brugge (2015), Dojima River Biennale, Osaka (2015), Curated by_Vienna at Georg Kargl Gallery (2015), Transmediale, Berlin (2016), Bucharest Biennale 7 (2016), Rencontres Internationales Paris/Berlin (2017), Glassyard Gallery, Budapest (2018).

Annie Vigier and Franck Apertet live and work in Paris. Under the generic title les gens d’Uterpan, they have developed creations focusing on experimentation. Their action touches upon several points, by exploring, among other things, the limits of the human body and of representation. This process implies redefining the practice of dance and the function of the dancer. Their work has been presented at (selection): documenta 14, Biennale d’art contemporain de Lyon 2007 (France), Project Arts Centre, Dublin (Ireland), ICA and Tate Modern, London (United Kingdom), Festival Ardanthé, Vanves (France), Kunsthalle Basel, Basel (Switzerland), and other institutions.

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