Elise van Mourik (1988) studies the changing conditions for participation in an increasingly constructed, regulated and automated environment. More specifically, she investigates how participation models today are organized in more flexible terms, and how contemporary neo-liberal relationship patterns between individuals, governments, corporations and institutions are structured by a tendency towards independence or a progressive 'liberation' from mutual responsibilities. Van Mourik approaches her subject as a political-architectonic problem, by orienting herself towards different open, closed, separated or connected public approaches, in script-related works such as spatial interventions, written scenarios, performance protocols or scenographic strategies.
Selection of works 2014 - 2019
MODELS, 2018 - ongoing.
Dimensions and materials variable. Here: Print on cardboard with UV coating. 210 x 210 x 500 cm.
During Prospects and Concepts, Art Rotterdam 2018.
Models is an ongoing study based on the same model repeatedly produced in different materials, scales and techniques. What is at stake in this study is a research on autonomy and to what extent the virtuality of a model can disasso-ciate itself from context.
I LOVE YOU TOO, 2017 - ongoing
Text. Dimensions and materials variable. Here: Vinyl sticker on metal plate 70 x 35 cm, for Collar Manchester, 2017.
The Extra’s, 2016.
Spandex, steel. 50 x 50 x 180 cm. Unlimited edition in various colors (red, blue, green, magenta, black, white, grey, beige).
Here: at ‘Furniture Sculpture’, curated by Simon Delobel, Artcenter Hugo Voeten, Herentals, Belgium 2016.
Extra’s is an ongoing series intended to re-appear in the context of various exhibitions and presentations as a returning figure. They take their design from scenographic props copied from the event industry.
BACKGROUND TALENT, 2016
Cardboard with a white gloss finish, ribbons in standard colors. 5 x 80 x 80 cm. Here: at Base-Alpha Gallery, Antwerpen, 2016.
WITH OR WITHOUT YOU, 2018
Performance, written for 1 or more performers. Here: at Etablissment d’en Face, Brussels. The work is based on extending an invitation across a protocol for dancing and waiting. A performer, mixed in the crowd, comes to a halt, closes his eyes, and assumes an open and inviting posture. He/she remains in place and rehearses / repeats different poses, attempts. It is an invitation to dance. The performance operates over long stretches of time; dealing with expectations; and switches between object (closed) and space (invitation).
HIGH PERFORMANCE, 2015 - ongoing
Performance, written for a contemporary business car driving slowly in the same circle without a driver. Dimensions and duration variable. Here: Audi A6, over the course of 5 weeks during Building Sight / Building Site’, curated by KOP, Breda, 2015.
Existing highway constructions as a public theatre piece, 4h. Produced the occassion of the show ‘Local Heroes’, Boxtel (NL). A poster annoncing the work was presented in the exhibition.
OUT HERE, 2017.
A play involving nine low-poly objects modelled in 3D software floating on the ponds of Ixelles, Brussels. Part of the series ‘How do buildings care - Perspectives in Three Sessions: Safety, Love, Intimacy’ at La Loge, Brussels.
The project aims to inspire a sense of remoteness; via the theatrical distance of the pond, which has its origins in English Landscape gardens, and the generic objects that float on it like an automated fiction.
TWO-STEP, 2016 - ongoing
A script for parking a minimum of two identical motorcycles in the exhibition. Dimensions variable. Here: two Suzuki GSX 750, at P/////AKT Amsterdam, 2016.
Taking on the dimensions of scenography and experimenting with the narrative structure of a space, in search of a tautological base-line of ‘work’.
WELCOME BACK, 2017
Sculptures, fictionalized treetrunks. 200x40x40 cm. Foam, jesmonite and lacquer.
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