Manufacture · LEO XIII

In 1990, six artworks (of which four on loan from the nearby Van Abbemuseum) were installed in a then recently-dismantled textile factory to test the capacity of the building as an exhibition space. Works by Rob Birza, Marlene Dumas, Guido Lippens and Marc Mulders were mounted for the occasion on several makeshift walls erected inside the former factory. This one-day trial installation marked the beginning of what became De Pont Museum of Contemporary Art.1 In the frame of the artist-in-residency at Gastatelier Leo XIII in Tilburg, Timo Demollin presents Manufactuur, an exhibition featuring six textile works entitled Surplus Composition (I–VI), each exactly the same size as the artworks featured in De Pont’s first test exhibition. Attached to Demollin’s works stands this commissioned text; conjointly, they aim to take a position in recent economic shifts, both in Tilburg and beyond. The work signals the development from a home based cottage manufacturing process to massive industrialization, to a service economy.

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Excerpt from text by Laurens Otto. Read full text here.

In 1990, six artworks (of which four on loan from the nearby Van Abbemuseum) were installed in a then recently-dismantled textile factory to test the capacity of the building as an exhibition space. Works by Rob Birza, Marlene Dumas, Guido Lippens and Marc Mulders were mounted for the occasion on several makeshift walls erected inside the former factory. This one-day trial installation marked the beginning of what became De Pont Museum of Contemporary Art.1 In the frame of the artist-in-residency at Gastatelier Leo XIII in Tilburg, Timo Demollin presents Manufactuur, an exhibition featuring six textile works entitled Surplus Composition (I–VI), each exactly the same size as the artworks featured in De Pont’s first test exhibition. Attached to Demollin’s works stands this commissioned text; conjointly, they aim to take a position in recent economic shifts, both in Tilburg and beyond. The work signals the development from a home based cottage manufacturing process to massive industrialization, to a service economy.

‍

Excerpt from text by Laurens Otto. Read full text here.

In 1990, six artworks (of which four on loan from the nearby Van Abbemuseum) were installed in a then recently-dismantled textile factory to test the capacity of the building as an exhibition space. Works by Rob Birza, Marlene Dumas, Guido Lippens and Marc Mulders were mounted for the occasion on several makeshift walls erected inside the former factory. This one-day trial installation marked the beginning of what became De Pont Museum of Contemporary Art.1 In the frame of the artist-in-residency at Gastatelier Leo XIII in Tilburg, Timo Demollin presents Manufactuur, an exhibition featuring six textile works entitled Surplus Composition (I–VI), each exactly the same size as the artworks featured in De Pont’s first test exhibition. Attached to Demollin’s works stands this commissioned text; conjointly, they aim to take a position in recent economic shifts, both in Tilburg and beyond. The work signals the development from a home based cottage manufacturing process to massive industrialization, to a service economy.

‍

Excerpt from text by Laurens Otto. Read full text here.

In 1990, six artworks (of which four on loan from the nearby Van Abbemuseum) were installed in a then recently-dismantled textile factory to test the capacity of the building as an exhibition space. Works by Rob Birza, Marlene Dumas, Guido Lippens and Marc Mulders were mounted for the occasion on several makeshift walls erected inside the former factory. This one-day trial installation marked the beginning of what became De Pont Museum of Contemporary Art.1 In the frame of the artist-in-residency at Gastatelier Leo XIII in Tilburg, Timo Demollin presents Manufactuur, an exhibition featuring six textile works entitled Surplus Composition (I–VI), each exactly the same size as the artworks featured in De Pont’s first test exhibition. Attached to Demollin’s works stands this commissioned text; conjointly, they aim to take a position in recent economic shifts, both in Tilburg and beyond. The work signals the development from a home based cottage manufacturing process to massive industrialization, to a service economy.

‍

Excerpt from text by Laurens Otto. Read full text here.

In 1990, six artworks (of which four on loan from the nearby Van Abbemuseum) were installed in a then recently-dismantled textile factory to test the capacity of the building as an exhibition space. Works by Rob Birza, Marlene Dumas, Guido Lippens and Marc Mulders were mounted for the occasion on several makeshift walls erected inside the former factory. This one-day trial installation marked the beginning of what became De Pont Museum of Contemporary Art.1 In the frame of the artist-in-residency at Gastatelier Leo XIII in Tilburg, Timo Demollin presents Manufactuur, an exhibition featuring six textile works entitled Surplus Composition (I–VI), each exactly the same size as the artworks featured in De Pont’s first test exhibition. Attached to Demollin’s works stands this commissioned text; conjointly, they aim to take a position in recent economic shifts, both in Tilburg and beyond. The work signals the development from a home based cottage manufacturing process to massive industrialization, to a service economy.

‍

Excerpt from text by Laurens Otto. Read full text here.

In 1990, six artworks (of which four on loan from the nearby Van Abbemuseum) were installed in a then recently-dismantled textile factory to test the capacity of the building as an exhibition space. Works by Rob Birza, Marlene Dumas, Guido Lippens and Marc Mulders were mounted for the occasion on several makeshift walls erected inside the former factory. This one-day trial installation marked the beginning of what became De Pont Museum of Contemporary Art.1 In the frame of the artist-in-residency at Gastatelier Leo XIII in Tilburg, Timo Demollin presents Manufactuur, an exhibition featuring six textile works entitled Surplus Composition (I–VI), each exactly the same size as the artworks featured in De Pont’s first test exhibition. Attached to Demollin’s works stands this commissioned text; conjointly, they aim to take a position in recent economic shifts, both in Tilburg and beyond. The work signals the development from a home based cottage manufacturing process to massive industrialization, to a service economy.

‍

Excerpt from text by Laurens Otto. Read full text here.