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<strong>ROPE</strong> <strong>IS</strong> <strong>COMING</strong>_<strong>ENG</strong>L<strong>IS</strong>H<br />


<strong>ROPE</strong> <strong>IS</strong> <strong>COMING</strong><br />

WHAT’S NEXT?<br />

<strong>ROPE</strong> <strong>IS</strong> <strong>COMING</strong>. WHAT’S NEXT?<br />

For both ourselves and the host a search begins... “Do<br />

something with me” says Rope. The question now is: what?<br />

How can we integrate Rope into the local context? This<br />

context can be diverse: a landscape, a building, a statue or<br />

monument, an event, an historical context, a neighborhood<br />

or neighborhood operation, but also a family or even an<br />

individual.<br />


To discover these contexts, an in-person inspection is normally<br />

conducted during which Ief Spincemaille, together with the help<br />

of the host, visit different locations and stakeholders to identify<br />

potential inspiring contexts for Rope. Based on this research, a<br />

selection is made and a dramaturgy drawn up. The dramaturgy<br />

broadly outlines which location Rope will visit each day and the<br />

main interactions that will take place there, but it always leaves<br />

room for improvisation. A Rope visit usually lasts between 5 and<br />

10 days.<br />


Within Europe, Rope is transported on two bobbins (on<br />

wheels), which fit into a van. Outside Europe, Rope is<br />

transported on two pallets. Rope always consists of two pieces<br />

of 30 meters, which are then invisibly attached to each other.<br />

During the trip we are usually with 2 or 3 people. If Ief comes<br />

alone, the host must provide two people who accompany<br />

Ief during the hours when the visual performances take<br />

place. These people help to handle Rope, but also interact

<strong>ROPE</strong> <strong>IS</strong> <strong>COMING</strong>_<strong>ENG</strong>L<strong>IS</strong>H<br />


with the public. They communicate the story of Rope, share<br />

newspapers from previous editions and are alert for possible<br />

interesting leads and opportunities for improvisation.<br />

After a day outside, Rope is rolled up and stored somewhere<br />

safe and dry for the night. The host provides a good storage<br />

location and arranges the transport.<br />

Ief writes a journal each evening which is translated into<br />

English by Atelier Ief Spincemaille and translated into the<br />

local national language by the host. Atelier Ief Spincemaille<br />

always ensures that photos are taken of the excursion, but it<br />

is highly advisable that the host also schedules a professional<br />

photographer. The journal and the photos are then shared<br />

via various communication channels. See the sub-heading<br />

‘Communication’.<br />

Afterwards, the journal is designed and printed in newspaper<br />

format by Atelier Ief Spincemaille. The newspapers can<br />

then be distributed to the places where Rope was a guest.<br />

Depending on the agreement made, the host receives x<br />

number of newspapers.<br />

USES<br />

All the different things you can do with Rope usually come back<br />

to one of these four forms: you can walk with it (WALK), you can<br />

create a social sitting, lying, hanging space or play area with it<br />

(SOCIAL SPACE), you can use it to sculpt and add it as a visual<br />

element to the existing context, such as a building or statue<br />

(SCULPTURE) and you can use it to perform choreographies and<br />

make it move in various forms with the help of different people<br />


<strong>ROPE</strong> <strong>IS</strong> <strong>COMING</strong>_<strong>ENG</strong>L<strong>IS</strong>H<br />



The introduction text of Rope (see attachment 1) is one half<br />

of the artwork. The other half is the object during the visual<br />

performances. It is essential that the introduction text is not<br />

adapted and that it is always communicated literally. Outside<br />

of this, you are free to announce the project in your own way.<br />

We explicitly try to avoid presenting the project as a work of<br />

art and Ief as an artist. We are X and Y traveling with a big<br />

rope. Already connecting with a certain group (artists) often<br />

results in less openness to the people and places where Rope<br />

is a guest. And for many groups, art remains a dangerous<br />

stranger.<br />

Rope has no gender. Try to say “it” whenever possible, and<br />

if you need a definite article, change the structure of your<br />

sentence.<br />

We use the following media channels: a website with all<br />

information, newspapers printed with the journals of previous<br />

journeys, the daily e-mail from Rope to the subscribers (on all<br />

journeys people are invited to become a subscriber to Rope’s<br />

newsletter journal) and the social media channels Facebook<br />

and Instagram.<br />

We always try to plug this media into the existing network<br />

of our host (the museum, the city or the festival that Rope<br />

has been invited to) and to the existing local networks and<br />

communication channels of the local organizations and<br />

neighborhoods where the visual performances take place.<br />

Suppose we work with a community center: do they have a<br />

Facebook page, a newsletter, a Whatsapp group on which our<br />

communication can ride?<br />

Use the word “connection” sparingly in your communication.<br />

Of course, Rope brings people together and must be able to<br />

connect with a certain context in order to be something, but<br />

this connection is rooted in imagination. Rope connects so<br />

Website Rope:<br />

https://www.rope.blue<br />

Website Atelier Ief Spincemaille:<br />

https://www.iefspincemaille.com<br />

Online Rope Journals and opt-in for the newsletter:<br />

https://www.rope.blue/JOURNAL<br />

Facebook:<br />

https://www.facebook.com/iefspincemaille/<br />

Instagram:<br />

https://www.instagram.com/iefspincemaille<br />


Concept and realization: Ief Spincemaille<br />

Technical Assistant: Bout De Beul<br />

Textile Research: Charlotte Stuby, Leila Boukhalfa, Maude<br />

Gyger and Jan Duerinck<br />

With the support of the Flemish government and the European<br />

Union within the programme Creative Europe.

<strong>ROPE</strong> <strong>IS</strong> <strong>COMING</strong>_<strong>ENG</strong>L<strong>IS</strong>H<br />


that it can write the story of the people it meets and places it<br />

visits.<br />


The Rope dossier, the Rope manual and the Rope press kit can<br />

be requested here: sander@iefspincemaille.com<br />


TIME…<br />

Rope is part of a series of works that all use social sculptures:<br />

large structures and objects such as a rope (Rope), a giant<br />

modular sail (The Play) or temporary and fully autonomous<br />

workstations (Muster Station). For these social sculptures,<br />

the use and applied design in a social and societal context is<br />

fundamental.<br />

Rope is only half object. Half, because the identity of Rope is<br />

not obvious. It needs people and a context to gain meaning<br />

and fully become.<br />

With these sculptures, Spincemaille goes in search of new<br />

methods for making and exhibiting. Not from a formal<br />

pleasure of playing with forms, but from a necessity for a<br />

new language that blends better with his imagination and is<br />

better adapted to the radically new planet on which we find<br />

ourselves. Rope is a metaphor for this journey. Spincemaille<br />

travels to unknown terrain with an absurdly large design<br />

object, looking for new ways of making and exhibiting, looking<br />

for what it means to create. Rope is a search for new futures,<br />

and this with one of the oldest objects in history: a rope.<br />


FOR YOU…<br />

-Which local neighborhood or social initiatives are interesting<br />

in the places where we want to work?

<strong>ROPE</strong> <strong>IS</strong> <strong>COMING</strong>_<strong>ENG</strong>L<strong>IS</strong>H<br />


-Are there potential partners in your existing network who<br />

might be interested? Supermarkets, companies, (sports)<br />

associations, schools, organisations, etc.?<br />

-Are there monuments, architecture, squares, landscapes or<br />

landmarks that could be interesting to integrate Rope on / in?<br />

-Are there neighborhoods with a strong social bond where<br />

Rope could stay?<br />

-Are there natural landscapes that could be an interesting<br />

backdrop (such as sea, mountain, landscape, desert) for Rope?<br />

-Are there neighborhoods with a coherent identity, such as a<br />

textile neighborhood, fishing port, carpenter’s neighborhood,<br />

industrial zone, that can offer an interesting context for Rope?<br />

-During the presence of Rope, are there any meaningful<br />

events taking place where Rope could connect?<br />

-Are there religious communities that can be an interesting<br />

context?<br />

-Are there small villages nearby where Rope could stay?<br />

-Can Rope be taken on public transport?<br />

-Are there local interesting or inspiring individuals that Rope<br />

can visit at their home?

<strong>ROPE</strong> <strong>IS</strong> <strong>COMING</strong>_<strong>ENG</strong>L<strong>IS</strong>H<br />


TEAM<br />

Ief Spincemaille<br />

Anouk Focquier<br />

Sander Dragt<br />

Bout Debeul<br />

Aafke Remant<br />

ief@iefspincemaille.com<br />

+32(0)494 08 35 49<br />

anouk@berserk.be<br />

+32(0)486 57 76 47<br />

Agent Beserk art agency<br />

sander@iefspincemaille.com<br />

+32(0)488 62 53 30<br />

Communications, PR<br />

Workshop guy<br />

admin@iefspincemaille.com<br />

business and finance<br />

assistant<br />


and sales<br />

LOOCV<br />

J.P. Minckelersstraat 64<br />

3000 Leuven, Belgium<br />

V.A.T. BE0688.555.587<br />

www.iefspincemaille.com<br />

Concept and realization - Ief Spincemaille<br />

Technical assistant - Bout De Beul<br />

Textile research: Charlotte Stuby, Leila Boukhalfa,<br />

Maude Gyger and Jan Duerinck.<br />

Photo credits - Ire Tsui, Danny Willems, Vincent Noir,<br />

Carolin Weinkopf, Pieter Michiels, Marilyn De Smet,<br />

Jan Duerinck and Wim Storme.

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