Born 1977, in Antwerp, Belgium / Lives and works in Antwerp
Vaast Colson’s artworks are essentially ludic models of social spaces. His projects place the spectators into a certain social context and invite them to produce their own interpretation of what they see. A simple conversation or a friendly chat, a short walk or a group journey, a chance encounter, a musical performance or an exchange of gifts - all these are the means the artist employs to develop or initiate interaction. The spectator’s response is the key element of Colson’s oeuvre allowing him to evaluate the social relevance of the message, that is, the adaptability and efficiency of the strategies and mechanisms he uses to develop collective participatory practices.
This artwork is based on a traditional ludic pattern known as the chain letter. Colson distributed to each of 10 recipients a copy of his invitation letter with the author’s drawing printed on the backside The letter explained that the recipient was expected to ‘complete or alter the drawing’ (or make a new one) ‘on the backside, add his name to the letter, copy the letter and drawing 10 times and send it to 10 people he wanted to involve in the project’. The original drawing was supposed to be sent to the Museum where it would be presented as part of the installation.
Colson addressed his letter to other artists taking part in the Impossible Community project and the staff of the Moscow Museum of Modern Art involved in the organization of the exhibition. Being integrated into the Impossible Community, Colson makes an effort to turn this community into an open structure with a power to multiply. After all, the main feature of any community as a form of human coexistence is exactly this capacity to open its ranks and take new forms.
'JUST HANGING AROUND' (Chouchou 8), 2006
'Kalpetran' (Der Höhenweg), 2003
'Onstageoffstage Dedicating Songs Dilemma', 2003
'Anch'io sono pittore!', 2002
'8 Hours for Felix', 2006