Press Review Lafleur & Bogaert – documenta fifteen – GER 2022
Persoverzicht Tom Bogaert – Kunstenfestival Watou – BEL 2022
Cristina Nord – Film and video at documenta fifteen – Merkur GER 2022
Laure van den Hout – documenta fifteen – Mister Motley NLD 2022
Yuki Saiki – Documenta 15 report – Tokyo Art Beat JPN 2022
Viera Pirker – Documenta fifteen; ein kritischer harvest – Feinschwarz GER 2022
Frances Arnold – Highlights from documenta fifteen – ArtAsiaPacific HKG 2022
Andrew Durbin – documenta fifteen editors’ picks – Frieze UK 2022
Chantal Pattyn – documenta fifteen top 10 – Klara BEL 2022
Ben Davis – documenta fifteen – Artnet USA 2022
Geert Van der Speeten – documenta fifteen – De Standaard BEL 2022
Atis Rezistans Ghetto Biennale – documenta fifteen – Catalog GER 2022
Christof Rutten – Kunstenfestival Watou – Het Belang van Limburg BEL 2022
Virginie Plateau – Kunstenfestival Watou – Poëziekrant BEL 2022
Kristien Bonneure – Kunstenfestival Watou – VRT BEL 2022
Geert Van der Speeten – Kunstenfestival Watou – De Standaard BEL 2022
James Putnam – Kunstenfestival Watou – Bezoekersgids BEL 2022
Laurie Bailliu – Kunstenfestival Watou – Krant van West-Vlaanderen BEL 2022
Anne Provoost – Kunstenfestival Watou – BEL 2022
Kayla Flett – Créolité Within Haiti – Demure magazine AUS 2022
Bettina Landl – When Sun Comes Out – Die Referentin AUT 2021
Hans Martens – Visit Rwanda – Video BEL 2021
Audra Lambert – Live from Berlin – Wall label Chashama USA 2021
Sebastian Six – Sun Ra Ra – Wall label bb15 AUT 2021
Sebastian Six – Sun Ra Ra – Flyer bb15 AUT 2021
Hans Martens – Visit Rwanda – Het Voorstel Catalog BEL 2021
Geert Van der Speeten – A Soft Gentle Breeze – De Standaard BEL 2021
Ushi Reiter – Ruining the City – architekturforum oberösterreich AUT 2021
Paul Bruneel – A Soft Gentle Breeze – Krant van West-Vlaanderen BEL 2021
Els Wuyts – A Soft Gentle Breeze – Villa les Zéphyrs BEL 2021
Linda Nochlin Fanzine – Kiosk Publishes – BEL 2021
Gerlinde Gilissen – Luchtledig – ART27 BEL 2020
Jules van den Langenberg – Openmap Fieldnotes – ZK/U GER 2020
Tom Bogaert – Walking the Hellweg – ZK/U GER 2020
Gerlinde Gilissen – Luchtledig – Catalog BEL 2020
Sandra Delacourt – Ghetto Biennale – Switch on Paper magazine FRA 2020
Jareh Das – Lagos Biennial – Ocula magazine GBR 2019
Eric Otieno – Lagos Biennial – Sleek magazine GER 2019
Rebecca Anne Proctor – Lagos Biennial – Artnet USA 2019
Kovie Parker – Lagos Biennial – TSA art magazine NGA 2019
Lagos Biennial – Ant Farm Lagos – Wall label NGA 2019
Robine Vanderhaeghe – Tom Bogaert over Visit Rwanda – UiT in Oostende BEL 2019
Els Wuyts – Visit Rwanda – Bildnis flyer BEL 2019
Hudson Kuteesa – Belgian visual artist’s work – New Times RWA 2019
Kirsty Henderson – Interview: Artist Tom Bogaert – Living in Rwanda RWA 2019
Collin Sekajugo – Dog Day Afternoon – Flyer RWA 2019
Mark Ellwood – Miami Art Week – New York Post USA 2018
Elizabeth Boyle – Pulse Miami Beach – Catalog USA 2018
e-flux – Qalandiya International – Announcement USA 2018
Ahed Izhiman – Interlude/Observance – Catalog PAL 2018
Flux Factory – S.T.E.P. – press release USA 2018
Qalandiya International – Solidarity – Press release PAL 2018
e-flux – Subcontracted Nations – Announcement USA 2018
Ghetto Biennale – Free Lens – Postcard HTI 2017
Leah Gordon – Ghetto Biennale 2009 / 2015 – Catalog UK 2017
Kader Bakou – Inspirations algériennes – Le Soir d’Algérie newspaper ALG 2017
Walid Bouchakour – Des sujets sérieux avec humour – El Watan newspaper ALG 2017
Espaco Gallery – SQUIB – Communiqué de presse ALG 2017
Espaco Gallery – SQUIB – Press release ALG 2017
Tom Bogaert – Wonderfully Pac Manic – Flanders Arts Institute BEL 2017
Anissa Mahdaoui – Dream City Tunis – HuffPost TUN 2017
Michel Marie Murphy and Baptist Lefebvre – HA HA – Make8believe Magazine CH-US 2017
Anissa Mahdaoui – Jaou Tunis 2017 – HuffPost TUN 2017
Séverin Guelpa – Matza Kerkennah – Feuille de salle TUN 2017
Thalia Vrachopoulos and Harry Savopoulos – The Right to Be Human – Catalogue GRC 2017
Rachel Dedman and Ayman Hassan – Halcyon – ELSE journal USA 2017
Dunia El-Zobaidi – Arab Science Fiction – The Arab Weekly UK 2016
Pablo Assandri – pepsi, cola, water? – Videoex CH 2016
TUL and Galerie FJ – Bogaert à Casablanca – Flyer MAR 2016
TUL and Gallerie FJ – Bogaert in Casablanca – Press release MAR 2016
Melanie Kress – Voyage, voyage – Essay USA 2016
Platform 010 – Where to Now? – Ibraaz UK 2016
Reda El Mawy – pepsi, cola, water? – BBC Arabic UK 2016
Richard Fleming and Jake Nussbaum – Tom Bogaert, Rocket #9 – Clocktower Radio USA 2016
Carole Diop and Pascale Obolo – Politics of Sound – Afrikadaa Magazine FRA 2015
The Brief – Ghetto Biennale – Art in America USA 2015
Paul Clammer – Sun Ra in Haiti – Lonely Planet UK 2015
Maison de la Culture de Sidi Bouzid – Tom Bogaert – Communiqué de presse TUN 2015
Maison de la Culture de Sidi Bouzid – the one invented, twisted animator – Postcard TUN 2015
Maison de la Culture de Sidi Bouzid – Tom Bogaert – Press release TUN 2015
Lucas Cantori – Utopiana Plantopic – Catalogue CH 2015
Exhibition Initiative – Post Internet is dead – Exhibition essay USA 2015
Laura Lecce and Fabrizio Vagirei – 1971, Sun Ra in Egypt – Pelagica Magazine ITA 2015
Rikke Luna & Matias – Spring Exhibition – Idoart DK 2015
Holland Cotter – Respond at Smack Mellon – New York Times USA 2015
Ali Shamseddine & John Rich – New Syrian National Archive – E-flux journal USA 2014
Medrar TV – Sun Ra in Egypt, 1971 – Jadaliyya USA 2014
CN Kugler – Heart of Darkness – Press release CH 2014
CN Kugler – Au cœur des ténèbres – Communiqué de presse CH 2014
Marwa Morgan – Art exhibition celebrates Egypt-obsessed mystic – Daily News EGY 2014
Rowan El-Shimi – Exhibition on Sun Ra opens in Cairo – AhramOnline EGY 2014
Nahed Samir – Sun Ra at Medrar – Underground Albawabhnews EGY 2014
Medrar – 1971, Sun Ra in Egypt – Companion to the exhibition EGY 2014
Boyuan Gao – Tom Bogaert International – Project Inkblot USA 2014
David Frohnapfel – The 3rd Ghetto Biennale – Artlink AUS 2014
Myriam Vanneschi – Contradictions of a “Ghetto Biennale” – Hyperallergic USA 2013
Emmanuel Lambion – I could have lived here – Catalogue BEL 2013
Robin Coupland – Egyptian sun and a hill of mice – TBS CH 2013
Ahmed Elhawary – Sun Ra in Egypt – Almasry Alyoum EGY 2013
Ibraaz – February Newsletter – Ibraaz UK 2013
Jörg Köppl – Interview with Tom Bogaert – Radio Lewa EGY 2013
Thais Medeiros – Rebuscopter – Flyer BRA 2013
Tom Bogaert – de Arabische Lengte – MO magazine BEL 2012
Anthony Downey – An Accidental Orientalist – Ibraaz UK 2012
al Hoash – And Did Those Feet – Companion to the Exhibition PAL 2012
TWIP – And Did Those Feet – This Week in Palestine PAL 2012
al Hoash – And Did Those Feet – postcard PAL 2012
BAM – And did those feet – press release BEL 2012
Irena Pivka and MC Brane – Radio Arts Space – Österreichischer Rundfunk AUT 2012
Christina Ryan – Between Ebal & Gerzim – aliendog.net CAN 2012
Vera Tamari and Yazid Anani – Between Ebal and Gerzim – Catalogue PAL 2011
Universes in Universe – Ant Farm Nablus – Nafas Art Magazine GER 2011
Rasha Hirzallah – Between Ebal and Gerzim – Wafa News Agency PAL 2011
Sani P. Meo – Between Ebal and Gerzim – This Week in Palestine PAL 2011
Andrew Spalding – Wet Floor / Piso Mojado – Review:Amman JOR 2011
Ahmad Zatari – Fascinated by Cracks – Al-Akhbar LEB 2011
Maya Ghandour Hert – L’art de Bogaert en 3 installations – L’Orient Le Jour LEB 2011
Chirine Lahoud – Trade in your plastic lenses for ice – The Daily Star LEB 2011
Zico House – Cracked – Press Release LEB 2011
Art in Odd Places – Double Portraits – Catalog USA 2011
Asile Asso – Idols and Heroes – Catalogue JOR 2011
Eltiqa – Piso Mojado para Gaza – press release PAL 2011
Makan Art Space – Nuts by the Creek – Flyer UAE 2011
Art Dubai – Makan Art Space – Catalogue UAE 2011
Anneliis Beadnell – Critical Brief IPO from Syria – Artist for Artist USA 2010
Ilaria Lupo – Bir Zeit: Stazione Palestina – Nena ITA 2010
Al-Mahatta Gallery – Ariel – Catalogue PAL 2010
Reem Maghribi – The Jordanian Cucumber – Baladna SYR 2010
Wesley Gibson – Sweetness and Light – Catalogue USA 2010
Khalid Abdel-Hadi – Tom’s Cucumbers – My.Kali.mag JOR 2010
Linda Griggs – The Back Room Biennial – curatorial statement USA 2010
John Lillywhite – Cucumbers and Kompressors – JO magazine JOR 2010
Ahmad Zatari – Jordanian Exhibition Combines Art and Politics – Al-Akhbar LEB 2010
Rasmi Al-Jarrah – Impressions – Al-Rai JOR 2010
Maha Al-Sharif – What’s a Cucumber? – The Star JOR 2010
Khaled Sameh – Option or Cucumber – Al-Dostor JOR 2010
Marisa Jahn – Companion – Exhibition Essay USA 2010
Francine Kay Affourtit – Elizabeth Foundation Open Studios – Press Release USA 2009
Serge Poliart – Nouvelles d’Anvers – el batia moûrt soû BEL 2009
Sharon Butler – Archeology of Wonder – Two Coats of Paint USA 2009
James H. Burnett – Artwork sunk by Coast Guard – The Miami Herald USA 2008
Tom Ronse – Non-Existing Art in Miami – De Morgen BEL 2008
Joseph Coelho – Grading Empire state-building – NYU USA 2008
Tom Bogaert – Empire state-building – NYU USA 2008
Jessica Feldman – Live and Active – Exhibition Essay USA 2008
Katherine Dolgy Ludwig – When Canaries Face The Cat – NY Arts Magazine USA 2008
Tom Ronse – Fascinating Belgians In New York – De Morgen BEL 2008
Rebecca White – 3,2,1 … Canaries blast off into space – Courier Life USA 2008
Donald O. Carroll – Amahoro – Exhibition Essay USA 2008
Holland Cotter – The Creative Spirit… – New York Times USA 2008
Sara Reisman – The Space Between – Exhibition Essay USA 2007
Jo-Anne Raskin – Boro Diversity Shows… – Queens Tribune USA 2007
Juliana Driever – Trans – Exhibition Essay USA 2007
Anne Smets – Cake Alarm in New York – Het Belang BEL 2007
Koen Snoeckx – Nothing To Declare – Het Belang BEL 2007
Hans Maarten Post – Artist Smuggles Bomb… – De Standaard BEL 2007
DAC – Art under the Bridge – Festival Program – USA 2007
Tom Bogaert documented genocide and human rights abuses in Africa and Asia for fourteen years as a lawyer for Amnesty International and the UN High Commissioner for Refugees. Five years ago, he resigned to become an artist.
Jack the Pelican is pleased to present “Amahoro,” the first one-person exhibition of Belgian artist Tom Bogaert. “Amahoro” is the Rwandan word for peace. It is a greeting, exchanged by people passing on the street.
Bogaert offers us a strongly uncomfortable mixture of tragedy and farce. On the one hand, he takes on immensely difficult subjects, including the 1994 Rwandan Genocide, in which as many as 800,000 ethnic Tutsis and their moderate Hutu sympathizers were killed. Then, there are the astronaut canaries…
The artist does not see his artwork as an extension of his human rights work, though it directly confronts the intersection of human rights, entertainment and propaganda. Given his background and history, an autobiographical reading is to some extent unavoidable.
It should be noted that the artist is white. He understands that the issue of race in his work is problematic. Harsh self-examination and -criticism is certainly evident. In the end, there is very little moral higher ground for him to be left standing on. Bogaert is operating here, to the best of his abilities, squarely within the tradition of (political) art and aiming a mostly complacent contemporary art audience. He has no formal art training. The entertainment components of the show are not necessarily to be trusted at face value. This is an exhibition that we hope will provoke serious reflection.
Tom Bogaert’s 2004 video This Is Rwanda appears on a gameboy, with actual footage of the massacre presented as a graphically-enticing, pumped-up video game. As Bogaert notes, you cannot talk about the genocide without talking about the role of the media. For 100 days, the popular radio station RTLM stirred the killers to action with a lively mix of entertainment and hate. “Kill the cockroaches,” blared one DJ, “they are coming to take your country,” and then, on to a catchy tune. The station broadcast death tallies like sports scores and even detailed the exact whereabouts of fleeing victims for others to track down and slay. The Genocide was especially horrific, because much of the killing was done with machetes. They were imported from England for the purpose.
In this work and others, Bogaert takes on Eurocentric perceptions of a rudderless third-world humanity, impulsively acting out ancient ritual blood feuds. He is deeply struck by the recurrence in the popular imagination and media of primitive Malthusian socio-economic theories of populations swelling uncontrollably. In direct reference to the conceit, Bogaert presents a giant swooning mound of black licorice mice, fighting their way to the top. The rhythmic surging within the piece gorgeously resembles braided afro hair. In another piece, black licorice mice cover a turntable. As the needle bumps along over their backs, it generates a rhythmic pounding eerily reminiscent of African drums. The title Black Noise alludes to a blatantly racist emotional disconnect. It is also the technical term for silence.
With intoxicating fear, mingled with the satisfaction of being safely afar, we are made to consume visions of masses reproducing and killing one another with libidinal frenzy. Contrary to widely held perceptions, however, the Rwandan Genocide was not about the spontaneous eruption of age-old tribal rivalries. The situation was deliberately orchestrated by political leaders and planned months in advance. They systematically fomented fear and played it for all it was worth.
Fear is a very real emotion. And, to Bogaert’s way of thinking, so is hope. We are bombarded every day with messages that play on our sentimental longing for a better world for ourselves and our loved ones. The artist addresses this issue in his sculptural installation Canary Space Station—a fantastic space ship complex he has cobbled together from dozens of garden variety bid cages. He uses real canaries. They are on a mission to a faraway paradise, where they will live evermore in piece and harmony. This is their ship and their technology. Presumably, it will work. On the surrounding walls, Bogaert presents the posters that sparked their quest. Canary space posters, by canaries, for canaries—canary propaganda. It is to us humans perhaps more curious than compelling. Bogaert plays us. The birds’ sweetness elicits our affection. But they are so innocent, so naive. We are outside their economy of desire. But, if that’s what they want, maybe they will make it. Probably not. But don’t we recognize ourselves?
In 1963, Hannah Arendt coined the term “banality of evil” to characterize Adolf Eichmann’s role in the Holocaust. She saw the epic horror as driven by countless little men, average citizens uncritically complicit with their countless little acts. It was bureaucratic. In the postmodern world, by contrast, evil comes to us in highly entertaining forms. As Bogaert observes, propaganda nowadays is sickeningly sweet. Let’s face it.
Don Carroll – Jack the Pelican Presents – January 2008
Donald O. Carroll – Amahoro – Exhibition Essay USA 2008