With I am the dog that was always here (loop), KIOSK presents the first exhibition in Belgium by Annika Eriksson. Eriksson bases her work in scenarios where the perception of time, structures of power, and once acclaimed social visions are called into question. Strategically, she plays with debates around the public realm and structures that regulate it, revealing urban changes and how this is subject to unexpected political appropriations and inversions.
 
Eriksson’s works in the exhibition engages with questions of time, its documented forms, and its reversal. Throughout the rooms, Eriksson sets up a number of possible scenarios in video works and three-dimensional interventions that include photographs, light boxes and panes of glass – extended elements of the film in space. The central piece of the presentation is the new video installation in the hemicycle room called I am the dog that was always here (loop) (2013). The video, set in the outskirts of Istanbul, focuses on moments of transition and marginalised experiences of time, seen through the lens of a street dog. Having been moved by the authorities to peripheral pockets and no man’s lands outside the expanding city, the dogs are continuously moving along lines of gentrification and corporate city making. Through looping and repetition, Eriksson relates this process to an experience of time: exploring the present as a complex gap between past and future, one in which an increasing process of erasure, spurred on by a shrinking public realm, also removes other registers of being and seeing.
 
Both artists – each grounded in their respective generations – work with the same kind of ideas in presentations that rely on the staged and the imaginary, and on the factors of time, language, the viewer and social interaction. With their cinematographic constructions and minimal interventions they introduce the audience into a fragmented narrative dimension. Where Eriksson mainly directs the exhibition space through the use of film, Schacht manipulates it with the aid of objects and people. Both narrative styles make use of the reversal of time and language, giving their scenarios an aura both of recognition and of the indefinable, like blind spots or ambiguous vacuums in space and time.
 
Annika Eriksson’s I am the dog that was always here (loop) was realized with the support of the Goethe-Institut, Istanbul.
 
Annika Eriksson has previously presented solo shows in, or was commissioned by: When Attitudes Became Form Become Attitudes, Wattis Institute, San Francisco (2012); Kunstlerhaus Stuttgart (2012); Europe N, GFZK, Leipzig (2011); DAAD Galerie, Berlin (2010); Hayward Gallery, London (2010) and Sheffield Biennale (2008). Eriksson took part in numerous international group shows including Shanghai Biennale and Kiev Biennale (2012), Venice Biennale (2005) and Sao Paulo Biennale (2002). Eriksson is represented by KROME Gallery, Berlin and NON Gallery, Istanbul.

We have the honour to host the first solo exhibition at our gallery of internationally renown artist Ricardo Brey (1955, CU), marking the start of a longterm collaboration between the artist and Galerie Tatjana Pieters as his Belgian representative. ‘Gasoline Around the Moon’ concerns the first major exposure of his work in Belgium since his monumental project ‘Universe’ at the Museum of Contemporary Art S.M.A.K. Ghent in 2006. ‘Universe’ was a large scale installation of 1004 drawings unfolded within 99 glass vitrines, making the lecture of the drawings transparent. The next chapter in Brey’s work does the opposite. The exhibition presents an installation of black boxes that when opened reveal a highly personal and multidisciplinary universe, inviting the viewer to engage and discover.
 
Brey has been committing himself to the development of large projects since 2002. After ‘Universe’ (2002- 2003), he continued with the extended project ‘Annex’ (2003-2009), followed by ‘Every Life Is a Fire’ in 2009. Here the artist began an amazing journey creating multidisciplinary works inside unfoldable archival boxes of the same size. Offering the beholder a look into the miniature, Brey meticulously transforms the boxes into spaces of wonder. Each with their individual title, they reflect an autonomous world. The five boxes on show are the last ones of the project, but the first ever to be exhibited in public.