CLAPTRAP is pleased to invite you to “Faux Amis” (false friends), a new exhibition bringing together the works of international artists; Jack Davey (UK), Niels Goos (NL), Céline Mathieu(BE), Natasha Rijkhoff (NL), Robuche (NL), Vanja Smiljanic (SRB), The Self Luminous Society (*). This highly dynamic show focuses on trickery, playfulness, and deceit. It includes many different approaches towards seeing is not believing.

Graphic Design by Frédérique Gagnon

Photography by Noah Heupel

1 NIELS GOOS blurs the boundaries of the historical context of other artists, through his own use of language and his own interpretations. Each work of art leans on a different work of art and can never be completely "free". Each new work thereby extends an arm's length for its historical ally. The context fades into a different context, thereby giving the work a new load
of both desired and undesired direction given
by the artist.

2 NATASHA RIJKHOFF works with sculptural installations that usually contain a performative element, creating a quixotic world of twisting sculptures and falling water.

Fountain of Hopes and Dreams-- Throw salt over your left shoulder into the face of the devil and reverse bad luck. Cast your coins into the Fountain of Hopes and Dreams, hope for the best. The fountain may grant wishes. Or it might not.

3 CÉLINE MATHIEU has 12 crates of oranges delivered to the cellar that is CLAPTRAP for Faux Amis. Whichever way they are delivered by the merchant, is how they are installed for the show. She tries to convince the fruit merchant to buy back the oranges from her after the exhibition, getting them back to the sales circuit. She does a small gestured performance that includes

a novel and pierced oranges.
In various media, Céline Mathieu mingles linguistic and bodily sensibilities with an element of play. Often executed in temporary solid materials (from performance to plasticine sculptures), she is interested in what can not quite be pinpointed. Fluid modes of production (hypnosis), appropriations from the semi- scienti c eld attribute to a reading experience that is both conceptual and sensory. The context in which the work is shown strongly directs
her practice, which is emphasized by the way elements of display and textual components
of the exhibition are incorporated as cohesive parts of the work. Recurring elements are
a glass of water, a novel, and tactile surfaces.

4  JACK DAVEY works primarily as a sculptor; making large-scale installations in textile, wood and concrete. With the short lm that he has created for this exhibition entitled “Brown Noise”, he aims to capture certain erotic fantasies combined with a feeling of frustration and anxiety seen through the lens of day-to- day, mundane and isolated rural living. “Brown noise” refers to the hypothetical frequency believed to induce bowel movement. Jack Davey is fascinated by Human Waste and more speci cally the digestive system; viewing it as
a complex, intelligent and dynamic organism. It informs both the conceptual and formal aspects of his work. With his work he aims to open up

a dialogue about challenging perception and exploring the dichotomy of human emotions.


of linguistic-metaphysic-mystical-lunatics. In short, we like to play with words and believe
that through word play we can reach the divine with a transcendental state of mind. We practice Econosmics (Cosmic Economics), which is an alternative logic or lateral thinking approach to the production, distribution, and consumption of art. An example is found in the statement: “Don’t work for art, let art work for you”. We are not a gallery in the typical sense, but in the etymological sense. We are a passageway through the reality into a parallel alter-ego-gallery. We are southern sales associates at your service.

The aesthetic that our organization uses is a revival of “Cosmic Cowboy”, a counter-culture art and music movement that took place in Texas in the 1970s. It combined the imagery and clichés of the country cowboy with an experimental, progressive, and psychedelic twist. SLS was founded in 2016 by Slim Denken (The Cosmic Cowboy) and then joined by
Hayne E. Day (The Conscious Caballero), Benny Snouta (The Concept Conspirator), and José (The Contagious Condoctor). SLS is nomadic, traveling around the world developing products and systems, partnering with various groups and institutions. We use a cooperative nancial structure where pro ts are divided For the artist who’s work is sold, and portions are given to
the other artists in solidarity and to SLS to fund production costs and overhead. We have made presentations and conceptual sales workshops at various locations such as: Poppositions art fair (Brussels, BE), 1646 (Den Haag, NL), Bonington Gallery (Nottingham, UK), Arte era (Bologna, IT), The Community (Paris, FR), Galerie Mieke van Schaijk (Den Bosch, NL), and Jan van Eyck Academie (Maastricht, NL). Our organization takes its name from the poem, “God is Man Made” by the late great John Giorno.

6 ROBUCHE presents part of a series of paintings that consist of ve similar vertical formats. These have been produced in order
to break the continuity with their very rst paintings. This black and white exercice of style was a way for them to make a visual research about gestures and improvisation, creating pictures following non-intentional narratives. Thus involving organic forms and graphic language belonging to popular culture, such as cartoons or comic books.

Lou Buche and Javier Rodriguez (1991), also known as ROBUCHE, are both graphic designers and artists. They met in 2017 during their
Master studies at the Gerrit Rietveld Academie of Amsterdam and quickly became ROBUCHE,
a character born from the fusion of these two forces. Collaboration is at the core of their practice, becoming an entity trying to erase the individuality of the artist. Robuche’s work can
be is recognisable by his wit, playfulness and boyish honesty. Simple ideas are embraced
by an energetic visualization and are executed as large paintings and posters, typefaces,
video installations or performances. Robuche
is a quick thinker and gives form to his ideas
in unconventional ways. He wants to create a strong confrontation by manipulating the digital while using the analog, and vice versa. Joy plays a very big role in his creative process, and thus is very much connected to empirical, sensitive experiences, which are embodied in multiple layers, creating his own symbology, endless ctional landscapes and characters.

7 VANJA SMILJANIC is a visual and performance artist living and working in Cologne. Smiljanić’s focus is in interdisciplinary projects and her research lies in cross methods within the elds of visual arts, video and performance. In her practice, she often utilizes the model of performance-lecture as a way to bridge ctitious and experiential universes, comprising technical apparatus, diagrams and sci- povera sculptures. Connecting otherwise unparalleled reality systems, Vanja’s work attests the foundation of ideologies as alienated regimes, recurring to her own body as a vessel for narration, often shifting between the position of oracle and storyteller.

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