Bik Van der Pol
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Married by Powers (with Frac Nord-Pas de Calais)
Not by adding yet another new idea to the cycle of production and consumption, but by revising and reactivating an existing situation. This reusing does not stem from nostalgic desire, but is sparked by the understanding that things lie concealed in the folds of recent history which have to be actively exposed in order for us to be able to move on".

A collection only comes alive when taken into operation, when the objects are being shown and
allowed to function as 'working papers' at large. Married By Powers deals with the significance of an international art collection such as this FRAC collection. What does it mean, a collection, how do its individual pieces determine our vision on art, what do they mean for contemporary perception in a changing world and in what ways can a collection be valued and activated, beyond the usual practice of exhibitions and associated publications. And, not the least: what do these objects mean to a present generation of young artists, designers, architects?

Bik van der Pol invited nine young colleagues to choose in their turn, as our partners, from the 150 pieces and to state their reasons for their choice(s).
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Married by Powers (with Frac Nord-Pas de Calais)
They are all active in the broader field of the arts and come besides from The Netherlands from different parts of the world. They are today's and tomorrow's cultural producers. Their choice is presented during three days, in SHED, the space next to GYM (which is the space where the depot is installed). Their motivations are recorded on video and on show, thus forming an ever-increasing shadow collection, while the exhibited choices change all the time. Sometimes pieces will return, sometimes in a different context and certainly with a different motivation.

GYM houses the collection of 150 pieces, all packed in protective cases and material: the depot as image. The content of the cases is indicated by the list of names of the artists, titles and descriptions of the work. In some cases this list will evoke memories of the pieces, for many of the works may be part of some sort of collective memory.

Three pieces are, as our personal parameters for Married by Powers, shown during the whole period: How Does It Feel (1995), a work of Tony Oursler addresses directly to the viewer, in this way exploring and questioning the relation between public and private, intimate space.
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