Fakewhale in dialogue with Tick Tack
“Time is what prevents everything from happening at once.”
– Ray Cummings
At Fakewhale, we see dialogue as the space where ideas take shape and evolve. In this conversation with TICK TACK, we explore a reality where time becomes structure, urban context transforms into language, and art finds its place between the digital and the tangible. Through a vision that transcends the compromises of the market and institutional frameworks, TICK TACK creates a space where urgent and vital ideas can flourish, guided by a sensibility that weaves together intuition, architecture, and storytelling.
Our dialogue delves into the core themes of their program: the philosophy behind the name TICK TACK, their reimagining of artist representation, the interplay of architecture and transparency, the role of art in urban spaces, and their vision for a future that bridges technological innovation with historical depth.
Fakewhale: What motivated you to found Tacktick? After the opening and these years of work, has your vision changed over time, and if so, how?
Tick Tack: A combination of intuition, timing, and the urge to contributing something new to the artworld, to what’s already there. It started with big ideals and beliefs—some might call it /mistake it for naïve, but that’s how things begin. Along the way, we’ve learned (mostly from failures), grown (thanks to the artists we work with), and refined our approach. The vision hasn’t changed—if anything, it’s sharper, bolder, and more developed than ever.
The name Tacktick has both a conceptual and physical meaning. Could you elaborate on the idea behind this name and how it is reflected in the gallery’s programming?
TICK TACK is rooted in both the conceptual and the physical. The name, an onomatopoeia, referring to the sound of a clock directly refers to the building we inhabit—‘De Zonnewijzer’ (The Sundial), a 1955 Brutalist key work by architect Léon Stynen, build based on the stands of the Sun.
This is mirrored in our dual programming. Our day program emphasizes the production, presentation and promotion of new works and exhibitions by predominantly international artists. After sunset, CINEMA TICK TACK transforms our facade into a cinematic space, screening moving-image works, integrated in the brutalist architecture and urban setting that is visible to passersby and accessible online through live streaming.
The name carries urgency, like the ticking of a bomb. It reflects creating momentum for artists and present work that feels vital, timely, and necessary/relevant in today’s art world.
It’s 24/7—TICK TACK doesn’t stop, like a pulse, a drive to keep things moving—always forward, always necessary.
How do you view the traditional approach to artist representation compared to your methodology? How does your choice impact your relationships with artists and your curatorial decisions?
We deeply respect the traditional model of artist representation—where galleries take on the full commitment: lobbying for artists, publishing their work, ensuring placement in significant collections, providing consistent feedback, and facilitating fair representation. It’s a true partnership, a marriage that supports artists in both good and bad times. Unfortunately, this approach is becoming increasingly rare, especially among newer galleries, which often prioritize short-term commercial success over long-term support.
TICK TACK, however, is not a classical gallery—we intentionally avoid the term altogether. Our model is distinctly hybrid and nonprofit, operating on a 50/50 balance of private and public resources. This reflects our physical space itself, which bridges the private and public realms. This structure allows us to maintain a unique neutrality: free from the commercial pressures of the art market on one hand and the bureaucratic constraints of fully public institutions on the other.
Our approach is more project-based, but every project is treated with depth and care. We go beyond simply producing new works and presenting an exhibition: for each show, we create a context that amplifies its impact. We publish a catalog, invite writers to contribute essays or critical perspectives, and often collaborate with other partners to expand the dialogue around the work. It’s about creating momentum—bringing the project to life in a way that resonates far beyond our space.
Each artist receives a production budget and the freedom to engage with our specific space while realizing their vision. We encourage them to take risks and pursue ideas without the constraints of market demands or institutional guidelines. Artists often tell us, “Finally, I get to do something I’ve always wanted to do—with the support to make it happen.”
This dynamic fosters deep, collaborative relationships and results in exceptional new work. For us, it’s not about serving the structure; it’s about creating an environment where the artist—and their ideas—can thrive, free from compromise, and supported by a network of resources that truly amplifies their voice.
How does your approach impact your relationships with artists and curatorial choices?
Our relationships with artists are built on alignment—of ideology, work, interests, and, personal connection. It’s not just about clicking with the work but with the person behind it. Collaboration is an engagement, like a partnership. After research, studio visits, and conversations, it becomes clear whether that connection is there. If it is, the rest flows naturally over time.
What sets our approach apart is probably the freedom we tend to provide. Time, budget, logistical, and conceptual support are essential here. By offering these, we empower artists to explore new directions, and create without compromise. That moment when everything comes together—the ideas, the production, the space—is pure magic. It’s not just an exhibition; it’s a shared momentum, something transformative.
How does your cinema project integrate themes of urban context and architecture with concepts like transparency between interior and exterior?
Transparency in architecture is about more than just visibility—it’s about how spaces communicate, how they bridge boundaries. CINEMA TICK TACK embodies this idea beautifully. Physically, the screen is housed within the building, behind a single glass facade. Yet it feels entirely public, dissolving the divide between interior and exterior. That single pane of glass acts as both a literal and metaphorical threshold—a point where private creation meets public engagement. Artists often lean into this context, embracing the imperfect, transient nature of the moment.
This dynamic is especially evident during opening night screenings. As the lights dim, a rear-projection screen descends, and a timer counts down to the start of the screening. The audience self-organizes during countdown: some remain inside, others view from the tram stop across the street, while others linger at the facade, engaging with the work from a liminal perspective. All are watching the same piece, yet the viewing experience is fragmented by architecture and context—each vantage point offering a unique interplay between the work, the space, and the city and the other viewers.
CINEMA TICK TACK is inherently urban. Located at a busy city intersection, across from one of Antwerp’s largest tram stops and landscape parks, it’s perfectly embedded in the city’s fabric. In a place where people are constantly moving, it creates a pause—a moment to stop, look, and reconnect. It disrupts the urban rhythm, making people re-engage with their surroundings, often in unexpected ways.
What role does live streaming play in your cinema project, and how does this temporal dimension add depth to the concept?
Live streaming expands CINEMA TICK TACK beyond its physical location. Suddenly, a project rooted in a specific urban context becomes global, accessible to anyone, anywhere, in Real Time. The works being screened in Antwerp can now be experienced worldwide, maintaining both quality and immediacy.
Our website plays a crucial role in reinforcing this temporal connection. A clock in the upper right corner displays the current time alongside the sunset time in Antwerp. At sunset, the website shifts into a dark night mode, signaling the transition to CINEMA TICK TACK’s nighttime program. This duality—day and night—lies at the heart of our concept.
Interestingly, we’ve noticed a large livestream audience from the US as our nighttime screenings align perfectly with their daytime and evening hours.
Conceptually, we use live streaming to highlight the relationship between the virtual and physical. Occasionally, the livestream will cut to a shot of the cinema itself—a brief, two-second glimpse of the projection happening inside. It’s a playful but profound reminder: what you’re watching online is tied to a real, physical place. This simple intervention bridges the digital and the tangible, underscoring the immediacy of the moment and the intimacy of the connection.
In what ways do you think the accessibility provided by the cinema project could influence public engagement with contemporary art?
The public can choose weather or not to engage. Every night, it’s there out in the open, for anyone to encounter. Whether you stop and look or simply pass by, it offers an alternative to the visual noise. It’s a rare presence: moving images in public space that aren’t advertisement or trying to sell you a product. Instead of advertisements, it’s a billboard for discovery something strange, beautiful, ugly, or thought-provoking, perhaps a perfect moment.
The urban setting is key. Located at a major tram stop where diverse communities intersect, the cinema creates moments of stillness, slowness. We’ve heard people say, “Since the cinema appeared, I look up instead of at my phone.” It’s possibly the best compliment we’ve received.
By placing moving image works into this public yet intimate space, CINEMA TICK TACK transforms the act of viewing into an urban experience one that challenges our relationship with architecture, public space, and the rhythms of modern life. It doesn’t just integrate with its surroundings; it activates them.
What inspired you to collaborate with Fakewhake for the upcoming projection? In what ways do you see this partnership complementing and enhancing your program’s vision?
Our collaboration with Fakewhale for the upcoming projection reflects a shared vision for innovation in contemporary (digital) art. As one of the most relevant platforms for (moving image) art today, Fakewhale combines cutting-edge contemporary aesthetics with a nuanced understanding of technological advancements. They approach (digital) art with bold innovation and curatorial precision, steering clear of post-NFT clichés while staying ahead of the curve.
The SYNTHETIC PROGRAM, curated by Fakewhale for CINEMA TICK TACK, (21st January to 13 February 2025) exemplifies this synergy. Featuring works by Kevin Abosch, Olga Fedorova, Scerbo, and Fakewhale Studio, the program explores the transformative potential of artificial intelligence as a creative medium, perfectly complementing our mission to present forward-thinking works and artists that bridge digital and physical spaces.
This partnership not only enriches our programming but also opens a dialogue that redefines the boundaries of contemporary practice. Together, Fakewhale x CINEMA TICK TACK create a new forms for innovative expression, fostering engagement with the future of art and technology presenting works that are hyper-contemporary yet deeply rooted in art history, adding meaningful contributions to the evolution of contemporary art.
fakewhale
Founded in 2021, Fakewhale advocates the digital art market's evolution. Viewing NFT technology as a container for art, and leveraging the expansive scope of digital culture, Fakewhale strives to shape a new ecosystem in which art and technology become the starting point, rather than the final destination.
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