A terrarium is a relatively contained space designed to create a delimited environment for experimentation and research. It was first developed in the field of botany in the mid 19th century and later used in other fields of biology and ecology. The Terrarium of Campus Sint-Lukas Brussels is conceived as a space for artistic research, where students and researchers on campus can experiment with how their creative work interacts with the specific environment, allowing their research to grow and develop in new directions.
The structure of this space is composed of two glass vitrines forming the longer sides, there are also four fixed internal walls. One mobile wall can eventually divide the central area into two.The Terrarium is visible from the inside of the school as the internal vitrine gives onto the central court, while the external vitrine gives onto the street, making it visible from the outside of the school. This specific in between position is ideal, making the Terrarium a venue for inward reflection on what is generated within the school and outward engagement with the questions and challenges coming from the context of Brussels. The Terrarium host a selection of plants that have played an important role in the history of art, such as Matisse’s Monstera and Broodthaers’ Kentia Palms. Their presence is meant to disrupt the white cube exhibition logic and to signal the alliance between human creativity and the intelligence of plants.
The Terrarium Talks offer a diverse view of what having an artist’s practice means today. Our guests talk about one or more artistic projects after which the public is invited to join a discussion.
Emiliano Battista - Friday October 25, 10 am
Yann Chateigné - Friday November 8, 10 am
Raimundas Malasauskas - Friday November 29, 10 am
Hana Miletić, Softwares (Precarious Pavillion), curtains with Jacquard-woven, reprogrammed textile (white polyester and grey cotton), variable dimensions, 2019.
Terrarium Sint-Lukas Brussel
The Softwares curtains are made out of woven textile covered with a grid-like design. The grey and white checkerboard pattern of the gird references at once the Photoshop transparency grid and a weaving draft. Both of these grids render visible and support the production of images in (digital) photography and weaving, the two media that Hana Miletić works with.
The textile was woven on an automated Jacquard loom, the precursor of the first computer and an indispensable tool in the development of early software. In order to distort the binary and serial aesthetic of this grid Miletić produced a partly unbound fabric that is more porous and in parts translucent.
By using and re-imagining the grid the artist wants to shift our focus from visibility to tactility, from head to hand. Miletić recalls Bauhaus artist and educator Anni Albers who called for a “tactile sensibility” because a lopsided orientation toward vision, as Albers suggested, presupposes too much focus on the eye (or the centering of the “I”), whereas touch is about accessing relationships, and thinking through one’s quite physical relationship to the material and how by extension the material might affect others in its path.