photo: Jozef Wouters
photo: Phile Deprez


In ‘INFINI #1’ Yuval Tebol, Daniel Landau and Arkadi Zaides documented a definite section of the European border, the coastline of the Mantamados region of Lesbos, which is the Greek island’s closest point to Turkey. In 2016, each day approximately 1,500 migrants entered Europe through this location. The video work provides a contemplative meditative gaze on one of the three main gateways to fortress Europe. The image of the coastline (photographed by Tebol) is fundamentally transformed (by Landau) with the use of digital effects: fragments are cut out, isolated, and framed. The distant Turkish coastline as well as the rubber dinghies previously used to carry migrants and now left on the Greek shore, are delineated with a yellow dotted line and blacked out. The sea and the air have also been edited extensively. This process takes place silently, detachedly: as if the tragedies unfolding on the coast were nothing more than a problem that can be solved with the aid of digital technology. 

Credits & Collaborators

Concept Arkadi Zaides Photographer Yuval Tebol Video artist Daniel Landau Local coordinator Lesbos Efi Latsoudi Commissioned and presented first as part of INFINI, a project by Decoratelier Jozef Wouters at the KVS, Brussels

Past Events

1 July 2020
׳Fear Of The Future׳ launching of an online virtual exhibition, Upper School of Arts and Design, Caldas da Rainha, Portugal

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Articles & Reviews


by Jeroen Peeters and Jozef Wouters, 09/17

With contributions from: Anna Rispoli, Arkadi Zaides, Begüm Erciyas, Benny Claessens, Chris Keulemans, Jisun Kim, Jozef Wouters, Michiel Soete, Michiel Vandevelde, Rebekka de Wit, Rimah Jabr, Rodrigo Sobarzo, Sis Matthé, Thomas Bellinck and Wim Cuyvers.

With INFINI 1-15, Decoratelier created a performance around the following question: “which spaces must we show in the theatre today?” Fourteen artists entered into a dialogue with Jozef Wouters and Decoratelier, an eclectic group of builders and thinkers, and each conversation resulted in an infini: a unique interpretation of the painted backdrops that were lowered on pulleys, as a horizon for the imagination. The book INFINI 1-15 is a continuation of that dialogue, a translation of scenographic space and image into both words and layout. Published by De Nieuwe Toneelbibliotheek, the volume gathers together the makers’ performance texts, stage directions and spatial descriptions.

Jozef Wouters/ Decoratelier – Infini 1-15

by Marijn Lems, Etcetera, 03/16

Jozef Wouters was toch heel erg duidelijk geweest. In zijn vraag aan een vijftiental theatermakers, choreografen en andere kunstenaars om na te denken over welk landschap zij in het theater verbeeld zouden willen zien, had hij gestipuleerd dat er in het eindproduct hoe dan ook geen tekst aan te pas zou mogen komen. Toen zijn enige eis massaal werd genegeerd en slechts drie makers erin slaagden om daadwerkelijk alleen met een beeld te komen, zag Wouters zich echter genoodzaakt om de regels aan te passen.

Deze schijnbare onderwaardering van de pure zeggingskracht van het beeld kon de scenografen met wie ik Infini 1-15 bezocht maar matig bekoren, en het moet gezegd: het is op zijn minst wonderlijk dat de ratio van beeld en taal in een project met de opzet van Infini zo ver naar de verbale kant is doorgeslagen. Aan de andere kant biedt de uiteindelijke voorstelling zo´n rijkgeschakeerde selectie van landschappen en vergezichten dat het onmogelijk is om lang stil te blijven staan bij eventuele gemiste kansen.


A message from Geert Ates, the founder of the United for Intercultural Action network, whose main campaign the "List of Refugee Deaths" is at the core of our latest project Necropolis