THE MAKING OF d o m i n o k i n g d o m



HOW CAN AN ELEPHANT MAKE LOVE TO AN ANT?
We are interested in featuring connections within the multiplicity of ideas and people, in allowing a state of reaction and interaction, while individual interest, style and ambition are encouraged to remain internally different.
We want to appropriate 'making use' of someone else’s work in order to create a new work and take what suits without any need to justify the decision. Is this collaboration or exploitation? What is good with one or bad with the other?

HARD WORKING IDLERS
By thinking of ways to get rid of approaching work and creativity in terms of production we notice that we are missing a framework where we can disengage from the rigidity of deadlines and long-term commitments.

We want to activate an 'idle mode', to install a mechanism that allows situations to trigger new ones and to create conditions to do nothing in order to stay receptive and susceptible, to wait and see what a situation brings, release what exists already as to then consciously be able to choose what goes after.

IT DON'T MEAN A THING IF IT AIN'T GOT THAT SWING
d o m i o k i n g d o m is a sequence of events we visualise like this: a house full of rooms with many doors from which one could enter another room full of doors that might lead yet to another room full of doors and so forth. What thrills us most with this image is the continuity created by the transition from one room to another: the continuity of 'moments in motion' i.e. moments that are the realisation of previous potentials and at the same time the generators for new ones.

The principle of transformation matters as much to us as what is transformed into what, i.e. what the product is. We consider the different 'shapes' a work might take on during the process of its making as relevant and juicy as the accomplished result.

FOURTH WALL/ FORCED ROLES
In d o m i n o k i n g d o m the 'consuming part' at any time can become the 'producing part' and vice versa. We believe that this constant shifting of roles is likely to create a higher attention towards what is happening on 'the other side' and allow a special engagement between the art work/artist and public.

At the same time the principle of authorship is challenged: not only is the public asked to engage themselves in the chain of production, but also the authors have to agree to their ideas being transformed and to their contribution to becoming 'one amongst other.

WHAT I SEE IS WHAT YOU GOT
The aspect of 'continuing mutation' gives the project a rather ephemeral character. We recognise that the structure we want to bring into play exhibits the qualities of a 'subjective documentation': through every new contribution a part of the previous work is kept, yet respectively in another form.
Encyclopaedias, dictionaries, archives etc are types of 'storage' that deliver information and postulate an imaginary completeness or wholeness of knowledge. Whereas information conveyed in a more 'subjective' way in narrative forms such as fairy tales, myths, songs or rumour etc..is not only preserved it is altered and actualised at each modifiaction.

THE MORNING AFTER
We want to think what the topic of documentation means in terms of our project. How can a project like d o m i n o k i n g d o m be traced after it has come to its ending point? What is important to keep evidence of and how? One of our main interest is what the influence of the project on Brussels is and vise versa. To work on this - we want to create a sub-project within dominokingdom that allows us to meet artists, sociologists and urbanists to create a frame in which the project itself is discussed, evaluated and reflected upon.