Going to Brussels for a residency and giving workshops of Escuela de Calor, was part of the invitation by the artist running De La Charge, who open their house and gallery space for me. It is true, that the time of the year was already not very much in sync with the warm spirit of the Mediterranean habitus. But as this Warmth/Calor was meant to test itself against more complex situations, this one seemed ideal. Crossing the invisible lines that makes what is understood as the North of Europe and leaving the known places of the European South. Clearly, as the whole project is about finding the hidden power relations that submit us to the Anglo-Sphere since the "actions" and online archives started. The Anglo-Sphere, the global Norths, that do not include the European Souths because they are antagonist to the historic events that made those Norths strong and powerful. From the submitted Souths, we witness the developments of the world, in our delayed time and insignificant lives we have the chance to look around, doubt, and de-school ourselves.

How the comments on immigrants from Southern Europe draws lines from here in the North
The Seven Men, book's is by John Berger the writer and Jean Mohr the photographer (ably assisted by the artist Sven Blomberg and the designer Richard Hollis) which tries to capture the reality of the migrant worker’s life. They focus, in words and pictures, on the movement of those migrant workers (’guest-workers’ as official German policy laughably calls them) who are drawn out of Southern Europe’s poverty into the cities and factories of booming Western Europe. These workers, in a sense, are even more disadvantaged than the majority of immigrant workers in Britain, for they nave little right to establish residence or bring their families. They are pushed and pulled from Turkey, Greece, Yugoslavia, Portugal, Spain, Southern Italy, into and out of West European industry entirely at the will of capital The sackings this year at Volkswagen will be felt most sharply, not in West Germany, but in the villages of Anatolia..... more:https://www.marxists.org/…/wr…/barker-c/1975/06/migrants.htm

Texts online research excerpts:
"Mark Twain wrote a satire about Leopold called “King Leopold’s Soliloquy; A Defense of His Congo Rule”, where he mocked the King’s defense of his reign of terror, largely through Leopold’s own words. It’s an easy read at 49 pages and Mark Twain is a popular author in American public schools. But like most political authors, we will often read some of their least political writings or read them without learning why the author wrote them in the first place. Orwell’s Animal Farm, for example, serves to reinforce American anti-socialist propaganda about how egalitarian societies are doomed to turn into their dystopian opposites. But Orwell was an anti-capitalist revolutionary of a different kind—a supporter of working class democracy from below—and that is never pointed out. We can read about Huck Finn and Tom Sawyer, but “King Leopold’s Soliloquy” isn’t on the reading list. This isn’t by accident. Reading lists are created by boards of education in order to prepare students to follow orders and endure boredom. From the point of view of the Department of Education, Africans have no history."

Informative Sources about Leopold's Congo: http://ic.galegroup.com

Twain's critical works
Since 1866, Twain had been lecturing to audiences across America and, occasionally, in Europe, usually on humorous topics at lyceums or after formal dinners. In his later years, though, he used his celebrity status to speak out forcefully on social and political issues. As a long-time critic of American and European imperialism, Twain wrote an essay in 1905, entitled "King Leopold's Soliloquy," to generate support for the American wing of the English Congo Reform Association. The Harper Brothers firm, Twain's contracted publisher, refused to run the essay in their periodicals, Harper's Monthly and Harper's Weekly, but allowed its publication in pamphlet form by the American Congo Reform Association. Combined with Harper's rejection of an earlier anti-imperialist essay, Twain concluded that he was being censored.

In the 1870s, explorations of the vast Congo region of Africa's interior enticed King Leopold II of Belgium to establish a committee of European investors to oversee development of trade in the area. They claimed that treaties with native African tribes gave them the authority to govern the region. In 1884-1885, the Belgium army defeated a combined British and Portuguese force to establish the Congo Free State, with Leopold as its ruler. He extended his control militarily during the 1890s.

Leopold's administration of the Congo was exceedingly harsh, relying on slave labor to work the land's highly profitable rubber, ivory, and palm oil industries. (In the cartoon, notice the "dividends" in Leopold's back pocket.) The African workers were often mutilated as punishment for minor offenses. It has been estimated that four to eight million Congo natives died as a result of the brutality of Leopold's regime. Protestant missionaries initially alerted the outside world to the atrocities, and the Congo Reform Association was formed in 1904.

While in England in 1907 to accept the honorary degree, Twain reiterated his complaints against the inhumanity of Leopold's reign in the Congo. Finally succumbing to worldwide pressure, the colony of the Belgium Congo was established in 1908 under the administrative oversight of the Belgium parliament. The king retained some authority, but it became constitutional rather than personal. The New York Times excerpt about 20 July 1905 from 2005.


Text on the journal published with Stephane Carpinelli:

This project had from the starting point an element of an expedition to a difficult territory and turned out to be full of adverse conditions, including a persistent bad weather.

As it was impossible to walk around at all and was so wet, grey and cold, it was such an anti–climax that the only thing to do and the only thing that had remained was the conversations with my host at De La Charge, Stephane Carpinelli about Escuela de Calor and its very essence, about its possibility of happening, and how it had became clear that not North would ever be able to actually sustain an Escuela de Calor situation.

Only Southern warmth, only gardens, swimming pools, or urban areas of Mediterranean weathers could become the sites that a work like this requires.

After, the walks, the cold, the rain, the talks, the thinking etc … the gallery space was only used as our field tent in the dessert of rain, our refuge or camp base; we inhabit it, expend time meditating and discussing, having hot tea, and cakes … notes where taken, drawings made, objects arranged so that we will discuss, sometimes passionately defensive about what really matter to us and why.

Our opinions were very different and we argued quite a lot.

But conversation based situations, and my position as a mediator meant to just leave doors open.

The idea of Philosophy as the place left for Art to feel free, and the Idea of The fixed Object that holds materially all the possible meanings, was deeply questioned and discussed.

Stephane could not really understand my work (because he wanted to understand, he was taken by the opposed spirit necessary for the experience)

Objects "trouvés" on the few small derives made as short escapes between pouring skies and dry short lapses of time.

Brussels, fragments, discoveries, spirits, history, topics, ghosts ……

The implication of Belgium Royal Family (King Leopold) and its colonising industries and policies, its genocide of Africans and exploitation of its resources, transformed in its delicate dark Belgium chocolate, where raising from everywhere at every corner, and haunting every step. Even from online-posts found about the genocide at the hands of Leopold II, which had been so hidden for so long.

From Tintin au Congo, shown with no shame in book-shops, from images, African mask and fetiches sold this time by the immigrants who had safely managed to stay in unknown lands.
At the flee market and old antiques shops where Congo is still for sale.

Free Association exercises that Stephane will channel wile “finding” the polemic The Lion King fabric versus a Venus made of laminates, books about Swords.

We finally arranged all the bits, various leftovers and objects of dilema and heated polemics in the cold manner of the structuralist anthropologist.

As it was, we open it to any one to visit, but the event was not very much like an art opening.

It occurred to me, that some how the premonition of failure had been transformed on to a found certainty: Escuela de Calor can only be explained as a concept as a real thing that only happens far from here.

Esther Planas

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 Calor at Cafe Bar.... rain and note     
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 small encounter Calor one day     
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 Steph C obsession: flee markets     
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 les puces de Bruxelles     
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 business support amulets     
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 pain spoils trafic      
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 Thinking laminated Classic Canons     
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 White and Black Mask punishments     
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 Guilt displaced and re-directed     
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 found protected defended     
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 thrown down polemics &rain&tea     
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 small news, notes.....     
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 HQ     
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 Yes Modern Art is Stolen wood works     
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 Talking of which      
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 the visitor     
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 tea and spirits     
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 from the street night      
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 Commodities      
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 Tintin as post-colonial sinn      
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 Captain Haddock is Stephane      
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 CongoSale(still at it)noone cares     
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 White supremacy      
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 Surreal moment (lashes & blood)     
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 Energies and Voices      
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 this fetiche is just phalic     
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 Boasting White Powers     
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 B not caring post-colonial traumas     
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 escuela     
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 escuela     
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 deep escuela     
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 Atomic Centre of Europe     
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 Atomic Etno Powers     
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 Forest wild humid      
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 bio green cells living colonies      
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 more colonies of moss spread     
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 yes Tourist of neo nuclear alien     
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 the Pomp of the fake Rome     
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 the piece of fake roman foot     
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 Cutoff fake Roman foot      
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 Fake Roman Imperialist dreams     
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 Tintin, I can't love you anymore     
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 The whole time here!!!! Sick!     
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 we will revenge !!     
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 baby Elephant stuffed sadness     
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 yes! horrifying !     
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 yes! insulting!      
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 Yeeesss!! Vomitive     
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 Monster Museum      
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 magic soul      
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 power to us !     
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 Steph danse de la Mort     
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 dry dry space non place for art     
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 fabrics topics double meanings     
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 yes Modern Art is a Bluff     
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 tea, cup, time, notes...      
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 Lion King! Is it a Sinn?      
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 Steph anti escuela de calor     
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 Black Mask revenge !