e-Zine 03

Hey y’all!

Hope you all had a good start to 2021 despite the fact that New Year’s Eve did not erase all the troubles of the past year and that we will probably not be able to breathe freely for a few more weeks. Here at D’CLINIC we believe that no restrictive measures can stop creativity, so keep rocking, and make the most of this time. See you back on live events in mid-June. (Fingers crossed!)

This issue is bringing you
Niels Poiz
Jo Michiels
Oona Tikkaoja
Julcsi Laposa

click here for flipbook version, with more content and photos

five plus one question
Niels Poiz

Q1 : Describe yourself in three words!

anxious, excited, open-minded.

Q2 : Finish the sentence: Art is…

Art is important, political, and necessary. Art is ever-changing. Art is life. Art makes you look and think about the details. Art is pretty ugly. Art is pretty real.

Q3 : Who or what is your biggest inspiration in art?

My whole artistic practice is about the written word and intertextuality. So I take inspiration from any words and any types of texts. Written or spoken.

Q4 : How do you create, do you have any protocol?

Not really. I try to make/ produce and then I edit afterward. It is important that my artistic practice feels very natural to me. On the one hand, it is a narrative and it has a fixed boundary, on the other hand, I am asking a lot of questions and the boundaries are blurred out… If you know the answers to the so-called answers, then you should quit… If that makes sense.

Q5 : What’s the hardest part of being an artist?

The hardest part about being an artist? can be money, the so-called ‘career’. I think the hardest part is actually figuring it out. What do you expect from art or from being an artist? Once you know that- it’s total freedom.

+1 question : Do you prefer to drive or to be a passenger?

I feel this is a rhetorical question… I will answer with driving. I need to be at the steering wheel, although in ‘real-life’ I can’t drive… and I love to be a passenger and be driven around town.

follow Niels : @niels_poiz

Jo Michiels

“I’m a Belgian artist. My artistic research focuses on the translation of (retro) pornographic images into abstract, two-dimensional work (paintings, drawings, collages). Characteristics of my work are playful color combinations, geometric shapes, and organic lines. In my series ‘Bodily Drawings’, I started at D’CLINIC Residency, I integrate bodies from the pornographic photos into my work, in other words, the skin literally becomes visible on the background, as part of an abstract landscape.”

Tell us a bit about your recent exhibition; what do we need to know about the concept behind it?

My recent exhibition at the art center Zebrastraat in Ghent, Belgium together with artist Elke Desutter was called Bokashi.be. In Japan, the controversial art censorship law prohibits contemporary artists to show genitals, pubic hair, and penetration in their work. Bokashi, Japanese for pixel blurring, is a form of self-censorship and is used by contemporary Japanese artists.

By pixels, objects, or by using white light, artists find creative solutions to show their work despite the limitation. Belgian artists experience more freedom in what they show in a museum or public context but often run into protests from fellow citizens or censorship via social media. Elke and I work in our artistic practice on censorship, the body, eroticism, and sexuality. An Open call about collaborations between Flemish and Japanese artists was the starting point for this exhibition. 

The Open Call was organised by Arts Flanders Japan. A grant was rewarded if your proposal stimulated collaboration between Japanese and Flemish artists. Our inspiration for the project Bokashi was the Japanese artist Ruydai Takano whose nude pictures are censored in Japan. Ruydai found a solution and placed a curtain before the genitals so he could expose his pictures.  

Not only Ruydai was going to participate, but we also found other Japanese artists working around sex and sexuality and dealing with censorship. We were going to Japan to interview these artists and create new work. My plan was to work with shunga, the explicit erotic Japanese pictures from the EDO-era. Unfortunately, we didn’t get the grant. Elke and I are still planning to go to Japan to realise our plans.

You had any new works exhibited? Do you feel your work changed, and how in the time after your residency at D’CLINIC?  

All the works shown in the exhibition are recent works from 2020. I work part-time at Design Museum Gent and due to the corona crisis; the museum was mainly closed during spring 2020. As a result, I had a lot of extra time to work in the studio to prepare for this exhibition. For me, 2020 was a very creative year in which I was able to create a lot of new work.

Yes, my work changed a lot since the residency, it’s still abstract but more sensitive, I guess.  I started my drawings with the pictures of body parts on the paper during the residency and I continued working with these transfer techniques for a year. Now I’m experimenting with the contours of body parts from pornographic pictures. After I cut out the bodies in the pictures I use the frame to construct my image as a reference to the body.

what about these image boxes?

The boxes are called ‚Used porn’.  Actually, it’s an installation with the pornographic pictures I use during my creation process. I make the pictures abstract by using unclear glass. The picture is ‚censored’ but the viewer has the possibility to see the original picture by opening the box. 

What is your usual working routine?

My working routine consists of short periods of three to four weeks in which I work intensively on new work in preparation for an exhibition. A short period in which I can work intensively, concentrated, and undisturbed is very productive for me. I can really immerse myself in my working methods during these weeks, I get more confident to experiment and create. A residency is of course the ideal way to realize this working routine, but when I’m not going abroad for a residency, I work the same way in my studio in Ghent.

What meaning and interpretation do you expect from the viewer?

My work is very intuitive and playful. Despite the abstract visual language, I am satisfied when the viewer recognizes the tactile character in my work. My work is very sensitive and the process is intense. In painting I expose myself and I hope the viewer feels it that way.

Are you influenced by other art forms, movements?

Not really, my heart goes out to abstract painting, but I am interested in art in general. I regularly visit exhibitions in museums and galleries at home and abroad, from photography, installations to painting and drawing art. This year I saw a good exhibition by photographer Wolfgang Tillmans, tactility also plays an important role in his photos. Film, theatre, and literature can also be inspiring. Some examples from this year are the
re-release of Jane Campion’s movie ‚The Piano’ or Lana del Ray’s album ‚Norman fucking Rockwell’.

Your favourite place in Zalaegerszeg?

Definitely the small bakery on the Sunday market, where you can eat the local dish Lángos.  After food coma guaranteed.

What are the plans for the future or what are you working on currently?

Now I’m working on a series of drawings called ‚Private Thoughts’ in which I use pornographic pictures to make abstract drawings (mixed-media). I give the drawings explicit titles as a reference to sex. I will show a selection of these drawings at the BLANCO gallery at the end of January 2021 in Ghent.

follow Jo @jomichielsart

Oona Tikkaoja

„I am an artist and educator who have been working mainly with public sculpture and social art projects. Along with my own artistic work, I have worked many years as a lecturer in cultural management, which suits me well because my art has currently been more about planning and organising projects than sculpting with my own hands. One could say that I work with a manager-like mindset. I started as a sculptor, but during the years my sculpting has transformed towards shaping ideas instead of concrete materials”

We heard that your artistic doctoral dissertation project, which we partially got to know during your residency at D’CLINIC, is slowly coming to an end.  Congratulations on that! Would you introduce it to us briefly?

My artistic doctoral dissertation has now passed the pre-examination phase and will hopefully be published during spring 2021. I started the process already in 2010, so it is a big relief for me to get the work finished. I was working with one of the artworks included in the dissertation also in summer 2014 during my residency period at D’CLINIC.

The research focuses on everyday anomalies, unexpected situations resisting the conventions of everyday life: a stranger behaving weirdly, an alien plant growing amongst the ordinary ones, a peculiar object found in one’s pocket. Everyday anomalies are fleeting curious events, taking place in the middle of the familiar flow of everyday life. They are often experienced at a moment when routinized perceptive or cognitive patterns are disturbed by something different from the usual.

An anomaly causes the experiencer to pause for a moment when things do not proceed in the way she expected. Anomalies can be spontaneously born in the environment or as perception of the person experiencing them, or organized by a prankster or artist. I have collected this kind of experiences in Everyday Anomaly Archive (https://everydayanomalies.com/archive). In the dissertation I ask, how can everyday experience be affected by tinkering with everyday anomalies? I scrutinize the research question from two viewpoints: experience (anomalous occurrences) and production (anomalous acts), trying to figure out what kind of occurrences make people experience moments of confusion in order to find suitable ways to produce new anomalies.

During the research process, I have developed an artistic approach called Reality tinkering. When producing lifelike art in environments that are not demarcated for art, one inevitably affects the shared reality. Reality tinkering is available to everybody because there are no special skills or resources needed. It operates along with two different strategies, which aim to 1) cause disruptions into the flow of everyday life, or 2) help to sharpen one’s perception of everyday details by concentrating on them.

Reality tinkering is an ethical method, aiming to cause an appreciative and participatory attitude towards the world. It is essentially about the both-and mindset, instead of either-or. We humans cannot have everything in the world, but we can affect things in various ways.

To some extent, we are able to select how we do things and relate to different issues. Bricoleurs are able to see both the intended use of the things they work with and the unorthodox possibilities hidden in them. Working with the anomalies can be seen as a strategy for making one’s life one’s own by investing in the near environment, and by increasing the number of stories around oneself.

Where did the inspiration come from?

Everyday phenomena are something we already think we know, and because of that, we do not bother to question them too often. The research topic emerged from a feeling that the familiar everyday phenomena are far more complicated and marvelous than shown by their surface.

The familiar, nevertheless, is not easy to scrutinize precisely because it is so near to us. I needed a tool for reaching the familiar, so I started to focus on the moments when familiarity momentarily breaks up. The anomalies offer something to grab on, and by focusing on their interruptive nature I could maybe see more clearly the familiar landscape these anomalies emerge from.

The interest to focus on the familiar stemmed from anxiety towards contemporary life: is it really so, that to be satisfied we always have to get something new and exotic, although we already have so much everything around us? Would it be possible to really orientate one’s interest to the things which are already there, and how would that feel like?

did the work change over time?

This artistic research project started as a sci-fi spirited playful idea of smuggling small bits of possible realities into the most mundane everyday reality. During the ten years period which the research took to get finished, the focus shifted more towards the depth of things near me. I wanted to really see them by looking at them more slowly, from a different angle than I had done previously.

Can we have a look?

I have collected all the materials on the website everydayanomalies.com.
There you can later find also the dissertation itself after it is finished!

Your advice to artists?

Sometimes I think my artistic work has had no clear continuum, which I have been working with too many different materials and topics and might have made better artworks if I had focused more on specific areas instead of trying out various possibilities. Still, on the other hand, I think it is good for an artist to grab the possibilities that come across, try out different genres and materials, even if that would produce also less successful artworks. So I encourage artists to try out various things even if there is the risk of failure because that is how you learn important lessons.

follow Oona @realitytinkerer

Julcsi Laposa

Julcsi Laposa is a Hungarian folk musician, music-mediator; the owner of the Junior Prime Award for the Folk and Public Person of the year 2017. Julcsi has been a passionate musician since her childhood. Her earliest memories date back to the age of four years when her grandparents regularly sang folk songs typical for the region she originally comes from the Zala county. Her first real contact with the Hungarian Folk Music – an essential and unique space in the country’s life – was in 2007. Since then, she gained valuable experiences at home and abroad. Her mission is to make folk music, traditions, and art more attractive to the general public and future generations. Throughout her concerts, she introduces and disseminates a wide variety of folk traditions, grouped by the seasons of the year. She believes that involving the audience makes the learning experience joyful, rich, and rewarding.


As I am a folk musician, I prefer folk songs from all over the world. But I have a song from a French singer ZAZ, which I listen to all the time if I want to feel nostalgia: Si jamais j’oublie…


During this pandemic, the lives of many artists have slowed down. As a musician, I took full advantage of this time. At this moment, I am editing the last part of my Hungarian folk art series: NÉPI hang-színek (Folk Tone-Colors): Spring-Summer. This is a series of coloring booklets with songs, that I started publishing back in 2017. Since then each year a new booklet is published presenting the folk customs of a season; with drawings, stickers, and a music CD, on which the recorded songs are sung together with children. My goal is to present the Hungarian culture to kids with the help of folk colors and folk tunes.


Első Népzenei füzetem ( My first folk music book) was published within the Project of Folk Music Heritage. It is a singing book with Hungarian and Slovenian folk music from Prekmurje. This book is special for me, as it contains folk songs in two languages that have never been published before. The book can be download or listen to on this webpage: www.humanesely.hu.


The work on the publication is a multi-step process. I first choose the theme of the given season, including the famous daily customs, and then look for folk songs related to them. Once the songs have been selected, I search for folk costumes and folk motifs, related to the region of that particular song. However, before publication, the folk songs are all transcribed into a tone that is suitable for children. Once the music material has been put together, we will start rehearsing with the kids and fellow musicians for the upcoming recording. Once the music sheets are complete, I pass on the work to my graphic friend Viktória Füle to create the related graphics for each song. Then the disc recording starts. It is a complex process, the result of real teamwork. It takes 6 months to produce a publication.


My violin.


For me, Zala is the most beautiful region of Hungary. It has many hiking trails in the forest and on every 20 km, you can find a thermal resort village. My suggestion is to visit the lake Hévíz, have dinner in the  Gyöngyösi Csárda with a Hungarian folk music band. To me, in Zalaegerseg the Town Concert and Exhibition Hall is a nice place. Most of my performances happened here; but sure the nicest place is my home village, Tekenye, don’t miss out if you love the world of small hilly villages.

follow Julcsi @laposajulcsiofficial
click here for flipbook version, with more content and photos

e-Zine 04 : expected Feb 23, 2021

click here for e-zine issue 02
October, 2020

click here for e-zine issue 01
Spetember, 2020