Last change to visit the exhibition on the finissage of his exhibition: VERY VERY HUSH HUSH
On view

1. Very Very Hush Hush ( sound installation)
   This installation started initially as a soundwork. It is composed of extracts from a BBC radioshow 'Business english on the subject of crisis handling. The extracts are re-edited into a
   radio play in which we hear a meeting of corporate associates discussing a crisis at hand. The subjects in this radio play are trying to take control over this crisis. They discuss how to avoid a labor strike, restore the pace of operations and how to deal with potential bad press coverage. They talk in catchy phrases and use effective language but there is no real communication or interaction between the subjects. The conversation doesn't lead to an end or a solution but activates the construction of persuasive slogans.

2. "The Swap": A prototype of street furniture with familiar anti-homeless studs—a passive-aggressive intervention that must once have seemed like a good idea during a meeting of professionals—forms the setting for a discreet, if somewhat transparent, transfer of secret documents in a briefcase.

3. "A Theme Park Ride with Sandy, Mike, and Frank"
   In that sense, it is not illogical that we arrive on the first floor at the architecture of theme parks. In the early 1970s, following the opening of Disney World Orlando, Roberto Venturi proclaimed that Disney had connected more effectively with what people truly want than anything architects had ever offered them. (For Disneyland Anaheim, he had relied solely on set designers specialized in illusion, not architects). Karal Ann Marling speaks of “the architecture of reassurance”: reassurance, safety, life on cruise control.
   Yet Frank, Mike, and Sandy—the troubleshooters on duty in this second narrative—are working behind the scenes to fix yet another malfunction. “This is what you can do when something unexpected happens,” Frank instructs from a distance, “give it form, give it language, make it small enough to handle.”. Something suggests that the artist feels a greater affinity here: has he not also set himself the task of devising forms that confront disorder? Perhaps we can speak of a concentrated moment of stillness, beyond the spectacle, reduced to the scale of individual consciousness—or, as Samuel Beckett puts it: “when the object appears independent of any general notion and detached from the sanity of a cause, isolated and inexplicable in the light of ignorance, then and only then may it be a source of enchantment.”