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I would like to answer your question "In the context of contemporary art, what is your vision of yet unknown art?" with the end scene from "The Suspended Step of the Stork" - a film by Theo Angelopoulos, in which a series of telephone repairmen in yellow rain gear ascend poles and try to connect or perhaps re-connect wires that go "across the border".
In dealing with borders, boundaries, the mixing of languages and
cultures today, Angelopoulos is trying to seek a new form of communication
- perhaps even, a new humanism. I believe to create is not to invent
new, yet unknown arts ... but to build other kinds of relationships
between different people and things which are as they are. I like
to think about this notion of the "unrealized project"
as a possible challenge to experience unexpected moments of transition
from our existing capitalist economies towards other more personally
engaged, "unproductive" and alternative economies of mutual
understanding and ongoing conversations. Perhaps even, to make room
for contradiction, chaos, clouds, and surprises ... as a destabilizing
intervention into fixed ideas and cultural sedimentation.
At the moment, I am connecting/constructing a series of self-structuring laboratory conditions and uncanny architectures of time in order to articulate, with nothing but precision, a networked space/place of intimate exchange, and ongoing dialogue. This forthcoming "work in progress" (> visit me >>">http://www.blowup.be/nico_contact.html) will try to render visible and explore new perceptions of attention, collaboration, communication, and personal rhythm: from competition to compassion.
The essence of my artistic practice is to imagine a co-operative,
creative corps of experimental translations, complex editing processes,
curiosity, and multiple mistakes - where social intelligence and
knowledge structures are shared (in between) and where experience/consciousness
functions as a continuous, interactive, dynamic learning system
with multiple feedback loops and different resonances. (interachive?)
And, ... to grow new acoustics/aesthetics of deep focus and judgement
that take radical departures in terms of both content, form, and
context - re-visioning our preconditioned categories of evaluation,
production, and circulation of thought. I see this work as a possible
complementary "home" in relation to this ongoing instrumentalization
/ spectacularization of contemporary art, in which our gaze tends
to consumption and mere visual stimulus and exchange among different
people a meaningless, repeatable and predictable transaction.
I think it is more interesting to consider the work of art as a sort of gift, forming relationships with the other.
Nico Dockx
Antwerp, August 7, 2025
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