The omni-presence of the traditional, originally Western model directed towards success and profit is undeniable, even unescapable, in different domains and on many levels in our current global society. At the same time, however, it becomes clear that this model has reached its limits. In her essay Drunk on Fuck (2019), artist Lydia Lunch poignantly articulates reaching a point where her libido and the need “…to possess, to consume…” has reached danger point, prompting a long bout of celibacy. The year 2020 is one of one global pandemic, the BLM and various protests alike, Donald Trump, the rat-race of building a quantum internet that spans the globe, the tense US president elections, a critical UN Climate Summit. A clear view of the political spectrum disappeared, both left-and right-wing parties are using similar populistic strategies, glorifying more obscured and dubious ideologies than ever.

At this very moment, one could see a raise of artistic approaches which are in sharp contrast with the global flow of exchange of information projected by the government and/or media. The artists in this exhibition urgently create meaning by overly giving – or rather, a radical refusal to take – which is what securing them their freedom as an artist. A group of about 10 videos and performances all compellingly address the present political moment. By peeling of layers of censorship and all sorts of interest (political, economic, social and personal), they unravel the odious smell of truth. In all its complexity, harshness, beauty or fragility. Artist On Kawara described this attitude as give and give, a state of mind that is based on the trust that, if everyone is giving instead of taking, we all would be provided for.