feeelings is the home of objects, games, books, poetry, lectures and specialities made by cherished artists
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objects

Roger3000

13 songs

15€, edition of 13

tape 

Deniz Unal

Amulet

9€

resin, fake eyelash

Deniz Unal

Amulet

15€ – SOLD OUT

clay, metal

Deniz Unal

Amulet

5€

clay, metal

Deniz Unal

Amulet

24€

clay, metal

Camilla Wills

Contract

60€

ink and glitter on cotton, lamp, coat hanger and balloon

Liv Schulman

Control Season 3

40€

Limited DVD edition

Hadrien Gérenton & Sophie Varin

Dragon’s nest

small 40€ , big 60€

resin, epoxy and mineral powder

Federico Del Vecchio

Fetichism and lemon soda

60€

iron and squeezed citrus

Federico Del Vecchio

Fetichism and lemon soda

85€

iron and squeezed citrus

Christiane Blattmann

Footed bowls

60€ – SOLD OUT

glazed porcelain

Jane Fawcett

Friend’s Jobs

5€

book

Jennifer Bailey

Girls Rock

5€, edition of 50

stickers

Viager

Gobelets

96€ each

rose wood, beef bones

Amélie Bouvier

Handy 1

120€

plaster, pigment, wood

Amélie Bouvier

Handy 2

120€

plaster, pigment, wood

Amélie Bouvier

Handy 3

120€

plaster, pigment, wood

Gaëlle Choisne

Hévéa

170€

rubber, copper, milk, pump system

Ghislain Amar

Iphigenia or A Girl for the Wind

 12€

Book, English or French version Peach edition

Ghislain Amar

Iphigenia or A Girl for the Wind

 120€

cardboard, fabric, paint

Ghislain Amar

Iphigenia or A Girl for the Wind

 120€

cardboard, fabric, paint

Benjamin Collet

Le travelling d’un chapelier en manchettes

60€

inkjet print – edition of 7

Rachel Koolen

Weight of the shoe in grams divided per 10 and add 15€, edition of 8

wax

Florent Dubois

Opaline

170€- SOLD OUT

glazed earthenware

Ardita Gashi + Shqipe Gashi

Peinture sur sculpture ou sculpture sur peinture (jaune, vert gris ou magenta)

100€ each

pigment, wood, glue, plaster

Florent Dubois

Petit Bacchus

170€

glazed earthenware

Eléonore Joulin –

Pots à nichons

60€ – SOLD OUT

Earthenware

Alaric Garnier et Octave-Rimbert-Rivière

REPENT (also exists WET NIGHT, ECSTASY, HOME PLEASURE, FILTH, AGONY, HOT SPOT, WATER NYMPH, VIRTUE, FRAGRANT&PURE, FATUOUS PRIDE, FAVORITE)

120€

Plaster, pigment

Audrey Gleizes and Maya de Mondragon

Soubumbra hanging

72€

bleached fabric

Audrey Gleizes and Maya de Mondragon

Soubumbra lamps

120€ edition of 6

concrete, lamp, plastic pipe

Audrey Gleizes and Maya de Mondragon

Soubumbra lamps

120€, edition of 6

concrete, lamp, plastic pipe

Audrey Gleizes and Maya de Mondragon

Soubumbra Temporary tattoos

1€ each

ink, paper

Anna Maria Luczak

Tableware

Big plates and bowls: 36€

Small plates and bowls: 18€

Spoons 12€

glazed ceramic

Toon Fibbe

The Great mirror of Folly Cardgame

15€

 printed paper, cardboard

artists

Viager is an uncertain but joyful business founded by Louis Clais and Régis Jocteur-Monrozier in 2016 in Seine-Saint-Denis.

Toon Fibbe employs tropes of performance art to function as tools for research. He intervenes in situations through a performative exploration of characters – real, fictional, current or historical –and collects material on his way. His activities spawn objects, texts and dialogues. His recent work deals more and more with metaphors – ghostly and monstrous ones in particular -employed to understand economy – both current and throughout history. It departs from the idea that political economy has always shared an affinity with the ghostly, visible for instance in a metaphor like the invisible hand of Adam Smith. He currently looks into a publication called Het Groote Tafereel der Dwaasheid (The Great Mirror of Folly), made in 1720 in response to the first global stock market crash, this publication contains countless of prints and stories referring to supernatural presences in relation to this crash.

Roger 3000 lives and works in Brussels, Belgium

Rachel Koolen lives and works in The Nederlands

Alaric Garnier (born in 1988) and Octave Rimbert-Rivière (born in 1988) met at the school of Fine arts in Lyon (ENSBA). Octave focuses his work on combining different fields to craft decorative objects, processes from mass production and artisanal skills. Alaric works as a graphic designer, typographer and sign painter. He is running the publishing house Rotolux Press in Montreuil. They work together occasionally and aim at experimenting with the possibilities of sculpture and typography.

« The main resources of my work deal with an exhaustive use of language. I’m interested in the different ecologies of meaning that seem to come out when these resources get aggravated. The constant use of writing takes place creating a never-­steady system of peripheral thinking. My work often unraveling in time thrives a being towards transformation revolving around an invisible center. »

« I am an artist based in Glasgow. At the moment I am interested in exhibition formats and the permeability of her art production to patriarchal structures, desire, capital and paid work. »

Jane was born and spent most of her youth in Wensleydale, North Yorkshire

«Half silk, half cotton, half linen» Seinfeld, Season 5 ep.4 The Sniffing Accountant

« We just had this idea to combine similar interests from our individual practices. We had no specific plans and didnt think ahead. Only this desire of merging together our imaginative skills into tools with no method but with one dynamic; «cold blood hot thought». »

B. 1984, Montpellier Lives in Rotterdam (NL)

www.ghislainamar.com

www.peachopposite.com

Often working site specifically, my work consists of a practice of photography, printmaking, assemblage and video drawn from my own experience of places in which I live, or have lived, for a short or longer period of time. I work in series that develop overtime. It is for me important to be personally implicated in the questions that I raise or in the communities that I describe. These long-term projects often lead me to work with texts, news articles, music and art reviews. These texts function like catalysts, like stable zones that I appropriate, re-interpret and bring in discussion with my work. Some of the ideas I have been interested in are the Oceanic Feeling- a term introduced by Roman Rolland to describe the common psychological feeling marked by limitlessness; Disposition– the manner in which a space, a city, a situation is determined or settled; and theCultural Hybrid. In the last 7 years, I have finalized some of these series of works by showing them in the form of multi-media installations.

Since 2015, I run Peach, an exhibition space in my apartment in Rotterdam.Peach is thought of as a place for art and hopes to create a community through its activities.Peach was started as a way to develop a stronger sense of belonging as a foreigner in The Netherlands.

Experimental space, Freedom, for being, for doing, excessive and disorderly, as a thought in movement, as everyday gestures moved into the degeneration of the empirical time, intuitive and without limits, as a political statement against the current way of life too well planned, against a rhythm subordinated by a transcendent system. Art is the ground without foundation, without support, just one screw. We’re in this curious hodgepodge of shaping, molding or recovery, remake, re-appropriation, we are bootleg and mixing. Miscegenation and creolization. Cultural cannibalism.

The work of Florent Dubois suggests the charm of a tourist cliché; a taste that draws inspiration from the fetishisation of kitsch: or how to make something new out of the old (kitschen). He is drawn to art that is evolved from the leftovers, the false and the artificial. Dubois’s works takes the form of ceramics and drawings, exploring the difference between arts, craft, industry and mass produced objects. His gluttonous and saturated works take their inspiration from French craft traditions including Bernard Palissy, Vallauris and Sarguemines. The works are vessels for narration, building a fiction between the tacky £1 shop, fun fair and carnival and the Vallauris Pots, all the face pots in the world and the strange decorative objects.

« The nature of my art practice is centred around the ‘object’ and objecthood in contemporary practice. Specifically drawing from the contextual performance of these objects in terms of what it withholds and projects within the everyday. I believe in the everyday as the site of a fundamental ambiguity: it is both where we become alienated and where we can realize our creativity. My artistic production takes form as investigations of the‘ everyday’, particularly as it exhibits an absence that cannot be approached cognitively. The objects of my installations become the mediators that shift realities into new experiential domains, beyond the everyday, transported into another kind of spatial parallel. The agency and power of the object is made tangible, building narratives that expose the drive of our behaviours and form the representation of ourselves within our surroundings. In this instance the object becomes the carrier of us and our subjective self. It functions as an activator moving in time and place abstracted from its various social, urban, personal, intimate conditions to enable ‘new’ theatrical conditions ».

Unsatiated images seeker and intense internet user, Eléonore Joulin triggers unexpected connections and new mythologies by compiling, sorting out and arranging stories and events coming from many sources. She is also very good at face swapping app.

Deniz lives and woks in London.

Torres Satélites:

oh! no! please wait! I will have to stop this!

I cannot stand this any longer! WE are getting nervous!

Nervous Breakdown:

find me a definition of death, give me a definition of death

Torres Satélites:

SKULLPTURE!

Nervous Breakdown:

I NEED YOU TO BE CALM ALL FIVE OF YOU and I need a definition of death.

SKULTPURE IS DEATH?

Torres Satélites:

SKULL PTURE

Nervous Breakdown:

SKULLS

Torres Satélites:

of course!

Nervous Breakdown:

you are a genius

Camilla Wills is an artist and editor based in Paris. Knowing that the representation and the thing itself can never coincide, her practice finds the gaps between containment and dissolution, mourning and normalcy

“It is a demanding job to attempt Beckett’s fail-better. Paintings can look good just after one stroke. What urge makes you want to do something that pushes further, on towards contingency, clumsiness, strangeness or even brutality? Awkwardness is that thing, which is fleshy, funny, downward-facing, uncontrollable; it is an emotional or even philosophical state of being, against the great and noble, and also against the cynical (…) In the digital age, this relationship also goes the other way around: the living weight of the body is encrusted like a barnacle upon the perfection of the algorithm. Just having a body is a daily comedy. From the control tower of the head, one gazes downward, always downward, upon this ‘loose baggy monster’ that we find ourselves in, this laughable casement that is the body below, as ankles swell, farts are emitted, rolls of fat jut out, the penis does its own thing. Shit happens and then you die. It’s not an accident that people use ‘awkward!’ after a faux pas, a moment of tension between the ideal and the real, where what’s supposed to happen goes awry”.

‘Amy Sillman, « Shit happens », (Exerpts), in. Frieze d/e #22, December 2015–February 2016

« Soubumbra c’est un frottement infime, une expérience physique partagée puis propagée. C’est une projection entre le jour et la nuit, un basculement entre le reflet et la perte de vue, une lueur mince et verte. C’est un moment élastique tendu comme le regard vers ce mécanisme gigantesque et vertigineux, celui de l’Ombre cosmique qui fait du Jour un fatal accident de circonstances bouleversantes ».

Généalogies de pensées,

histoire d’un développement successif.

In her installations, Anna Maria (b. 1984, Łódź, Poland) takes on the subject of personal interpretation of historical and current events. She attempts to understand how, through the use of various types of archival and contemporary images as well as their subjective selection, a collective memory is built. Anna Maria is interested how images circulate on the internet and how their meanings change according to the context, or even the order of presentation. By combining video with spatial elements she allows them to pass from a virtual space into the material world and the viewer’s non­linear interpretation.

Aerial or outer space imagery and its ramifications on our perception and use of history, geography and power. While the aerial and outer space views are a magnificent instrument in the evolution of human knowledge, it also suggests a potential absence of limitations, which filled with unpredictability our close futures. In her research based practice she uses scientific archival images, military diagrams, astronomical observations, satellite imagery and science-fiction to investigate the evolution of a specific representation in a particular context, and explore the lines between real and imagined existences.