Carina Gosselé
  • HOME
  • CV
  • CASABLANCA COLLECTIVE
    • SCREENTESTS
    • INTERVENTIONS
    • IMPOSITION NR. 1,2,3
    • PAINTINGS
    • INSTALLATIONS & OBJECTS
    • WORKS ON PAPER >
      • DRAWINGS
      • SKETCHES
      • MONTAGES
      • PHOTO'S
    • SKINDRAWINGS >
      • TATTOOS
    • WEBSITE CASABLANCA COLLECTIVE
  • PROJECTS
    • SCALPS
    • T.A.Z.
    • QARINAH >
      • ROND DE PUTTEN 2012
    • UNDER WHERE
    • MUTATION
    • SAMAINOS >
      • PERFORMANCE: SAMAINOS 31/10/2011
      • VIDEOSTILLS: SAMAINOS
    • MUTE >
      • PHOTOS
      • MUTE: FLASH DRAWINGS
      • MONTAGES
    • MEETING GROUNDS >
      • VIDEO PERFORMANCE
    • NEXT, Chicago, 2009 >
      • PERFORMANCE "DISLOCATION #1,2,3"
      • PERFORMANCE "DISLOCATION #1"
      • PERFORMANCE "DISLOCATION #2"
      • PERFORMANCE "DISLOCATION #3"
    • DISLOCATION #4
    • FACTOID >
      • ANTWERP
      • DÜSSELDORF
      • BRUSSELS
      • LJUBLJIANA
      • CHESTER
    • TRANS-DANCE >
      • TRANS-DANCE #1
      • TRANS-DANCE #2
      • TRANS-DANCE: PORTRAITS
      • PERFORMANCE
    • PBU
    • TOURIST
    • HOMELAND SECURITY
    • π
    • LOLLYFICATION
    • DOUBLE EXPOSURE >
      • PERFORMANCE
  • TEXTS
    • ROND DE PUTTEN 2012
    • MUTE
    • MEETING GROUNDS
    • ENTER THIS BODY
    • TRANS-DANCE
    • FACTOID
    • FACTOID #5
    • MULTIPLES: SWITCH- PROJECT
    • HOMELAND SECURITY
    • TEKST: KRIS VERDONCK
  • WORKS ON PAPER
    • DRAWINGS
    • COLLAGES
    • FLASH DRAWINGS
    • PHOTO MONTAGES
  • INSTALLATIONS & OBJECTS
  • RESIDENCIES
    • Kurt Schwitters Merzbarn, summer 2013
  • EDITIONS
  • SOUND, VIDEO
    • SOUND WORKS
    • VIDEO WORKS
  • SecondRoom

                                                                                                                           [email protected]

CasaBlanca, 
initiated by Koenraad Claes and Carina Gosselé, is a nomadic artist collective.
The artists portray themselves as two protagonists standing at the center of their own improvised scenarios, exploring and carrying out various interventions.
Contact between the two artists and their surroundings are filmed, noted and described.
With minimally planned scenarios and self-imposed assignments, they seek new, unfamiliar environments in order to rediscover, reinvent and recreate themselves.
They use each other’s bodies and the surrounding environment as living canvasses, accepting and undergoing decisions made by the other.
Depending upon their mood, they either damage or decorate.
Findings made during their wanderings are to be recorded and reviewed; some elements will be re-enacted in guerrilla-style interventions.
The collective chooses and announces where and when such actions will take place.





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