Drywall Repair, aluminum, bullet-holes, 2017

Deconstructed camper shot by Federal Police Special Units, using semi-automatic Glock, 9 mm. The pieces were made originally in the context of a group show ‘Mined Mind’ for the 100th anniversary of the Armistice.

The camper is a reinvention of a mobile house, evoking the idea of safety and comfort while travelling. With the idea of deconstructing such a definition, the artist destroys the camper by cutting it into pieces, turning it into abstract ready-made sculpture, but leaving identifiable traces of the camper, reflectors, door hangers, etc.
The shooting on the target was sort of the training session orchestrated by the artist. 12 cops shot the panel. Due to the psychological resistance to the imposed authority of the artist, or the lack of shooting skills, many bullets missed the target. The 12 policemen were shooting simultaneously at the target and the error remained anonymous, not imposing any responsibility of missing the target.
The performance then becomes a playground for destruction.

Heartbroken Uncles 5 karaokeband

Musical performance, karaoke
Get to know Bert and Ari-Pekka better

Heartbroken Uncles 5 Karaoke Band

After his nocturnal walk for last year’s Night Shift in Brussels, sculptor and storyteller Bert Jacobs now joins forces with the Helsinki-based audio-visual artist Ari-Pekka Leinonen. With their brand-new performance, they wildly speculate on the quaint events that have led to The Beatles’ break-up and hatred between the legendary song writing duo Lennon-McCartney. Heartbroken Uncles 5 Karaoke Band explores themes floating between toxic egoism, stardom, success and failure. Expect a not-so-average musical farce with harmonious looks and sabotaging intentions.

On Ice — A Dovecote

Groupshow On Ice
Curator Laurens Marien
Co-curator: Leontien Allemeersch
With CAMPO @ Kristalijn, Gent

Willem Boel, Eva Vermeiren, Bert Huyghe, Kasper De Vos, Mathias Prenen, Jo Caimo, Buren, Lucie Renneboog, Frank&Robbert/Robbert&Frank, Dries Segers, Bert Jacobs, Elke Van Kerckvoorde, Dieter Durinck, Klaas Rommelaere, Roeland Van Trigt, Ingeborg Deglein, Marlies DC, Karina Beumer, Sibran Sampers, Eno Swinnen, Wim De Pauw, Neel De Bruycker, Rowan Van As, Oscar van der Put


Enkele jaren geleden viel me op dat op tweedehands-websites verschillende Vlaamse duivenkoten gratis ‘te koop’ aangeboden staan. Dit fenomeen is een direct gevolg van enerzijds het verlies in interesse in deze hobby bij de jeugd, en anderzijds het uitsterven van het echte duivenmelkers-ras.
Door dit verlies blijven de duivenkoten, van uiteenlopende en vaak vindingrijke architectuur, leeg en onbenut in de tuinen, of op daken, van gepensioneerde of gestorven duivenmelkers.

Omdat de constructie van de duivenkoten vaak een mix van materialen is (hout, plaaster, plastiek, dakpannen, glas, asbest, OSB-platen, enz ) zijn deze bouwsels lastig af te breken en te recycleren. Het zijn meestal de erfgenamen die deze duivenkoten goedkoop of gratis proberen van de hand te doen. In ruil moet je ze zelf af breken en ophalen.

Voor On Ice stelde ik Laurens Marien, de curator, voor om samen een duivenkot te gaan afbreken in Scherpenheuvel, en te plaatsen op de schaatsbaan in Kristalijn te Gent.
Het duivenkot van Francois in Scherpenheuvel was oorspronkelijk 8 meter lang, ik denk 1,5 meter breed en 2.5 meter hoog. Het duivenkot was geïsoleerd door een tiental loodzware branddeuren. Uiteindelijk belandde het duivenkot in 2 delen als installatie op het ijs in de groupstentoonstelling On Ice.


In conversation with Saul Judd

sj- Do you like to be nomad?
bj: Yes, I do and for the moment I don’t see any other option. I feel at ease in this situation of moving around and hearing new stories.

sj- How does the idea and reality of being a nomad plays in relation to your art?
bj: Well, I like to work with different kinds of materials and different ideas. A studio practice is as an exploration. Sometimes, when I get conscious of the fact that I can see, as sensorial perception, I can get very confused.
l see and sense imaginary and illusionary spaces and I like to transform them into new perception of space. When I have a special visual moment I want to put that into a visual form to keep.

sj- What was the project with the basement about?
bj: For an exhibition I bumped into a lost museum in the basement of an existing museum.  The museum in the basement used to be a museum for local history. After they closed it, all the stuff stayed there and got covered with dust and darkness. When I opened that door I entered a frozen theatre play, a treasure, like a good hidden secret.
I started to clean it out, and archiving all the pieces one by one.  Next I staged the lost museum with big and small interventions in its actual location and made it accessible for the public.

sj- Tell us about intuition, experiment and surprises?
bj: I do trust on my intuition as a guide. I mean if something feels good, its probably good, if I have a bad feeling about it, I try not to. When something smells bad,  don’t eat it! But of course I also make a lot of mistakes. That’s the experimental part in the process I guess: allowing mistakes and discovering news things by trail and error.
In my practice I try to generate a platform for this, where the result often is a calculated surprise.

sj- Collaborations play an essential role in your art practice. How do you deal with this?
bj: Collaborating is embracing other influences. By doing so there is an experience for both parties. By organizing this group show (XIX) I get in touch with a variety of different people with different ideas and media.
This social interaction almost happens automatic, but is vital to me.

sj- How about your Frankfurt experience. Tell us the cool and uncool about it.
bj: It is great. I live in a bunker on an island. Really!