Un monde en commun - Vernissage
Centre Culturel Jacques Franck
Saint-Gilles
Exhibition
Un monde en commun - Vernissage
Jacques Sonck I PORTRAITS 1977-2019
Fondation A Stichting
Forest
Exhibition
Jacques Sonck I PORTRAITS 1977-2019
Expositions "Proche-Orient. Des/espérer ?" et "Prix photo CCFD Terre Solidaire"
Geopolis
Brussels
Exhibition
Expositions "Proche-Orient. Des/espérer ?" et "Prix photo CCFD Terre Solidaire"
Un monde en commun
Centre Culturel Jacques Franck
Saint-Gilles
Exhibition
Un monde en commun
Un monde en commun- No Sovereign Author & Vida Dena | Photographie · Vidéo
Centre Culturel Jacques Franck
Saint-Gilles
Exhibition
Un monde en commun- No Sovereign Author & Vida Dena | Photographie · Vidéo
Residentie door Yaqine Hamzaoui
Zinnema [ONLINE]
Exhibition
Residentie door Yaqine Hamzaoui
Window-expo: Marlies Van Wielendaele - I Guess I'm Feeling Blue
GC De Maalbeek
Etterbeek
Exhibition
Window-expo: Marlies Van Wielendaele - I Guess I'm Feeling Blue
archipel_1 : Francesca Comune, Aubane Filée, Lilly Lulay, Juliet Merie, Pascal Sgro, Antonin Weber
Contretype
Saint-Gilles
Exhibition
archipel_1 : Francesca Comune, Aubane Filée, Lilly Lulay, Juliet Merie, Pascal Sgro, Antonin Weber
Jean Depara – Alain Nzuzi Polo : Kinshasa 1960s – 2020s
Jean Depara – Alain Nzuzi Polo : Kinshasa 1960s – 2020s. An exhibition curated by Jean-Loup Pivin and Pascal Martin Saint Leon.
In 1960, Congo rejoices in its independence. The days and nights of Kinshasa are seen through the eyes of maverick photographer Jean Depara: nights, clubs, musicians, pretty women, hoodlums, «Bills», bodybuilders… Three generations apart, the Kinshasa of 2020 is interpreted by Alain Nzuzi Polo, 30, the same age as Depara was then. His poetic universe creates an unexpected framework for today’s disrupted, saturated, chaotic landscape. Two artistic journeys rooted in the unique city of Kinshasa: different sensualities but the same vitality.
Exceptional opening on 27/04 and 28/04 from 14 to 18:00 for Art Brussels
Cloud Seven is delighted to present "Kinshasa 1960s-2020s: Jean Depara – Alain Nzuzi Polo". An exhibition curated by Jean-Loup Pivin and Pascal Martin Saint Leon, founders of the iconic Revue Noire.
Cloud Seven - Frédéric de Goldschmidt Collection
Brussels
Exhibition
Jean Depara – Alain Nzuzi Polo : Kinshasa 1960s – 2020s
I have seen the future
A photographic exhibition that exhibits the remains of the World's Fairs throughout history.
From 21 June, Quebec artist Ève Cadieux will take over a sphere of the Atomium – that emblematic witness to Expo 58 – to present her vision of the World’s Fairs that have left their mark on both North America and Europe. ‘I Have Seen the Future’*: a photographic installation, the mirror of an idealized future.
Photographer Ève Cadieux’s fascination with World’s Fairs began not far from her home in Montreal. In 1967, before she was even born, her father was a regular visitor to the 1967 International and Universal Exposition in that city. At the time, he captured on slides fragments of a world with futuristic overtones. As a child, Ève Cadieux loved listening to the anecdotes her parents told and she even had the opportunity to visit the vestiges of Expo 67.
While in Seville in 2015, Ève Cadieux suddenly decided to track down the traces of the World’s Fair held there in 1992. That is when she realized that her fascination went far beyond 1967 and Montreal. She threw herself into a project that she had been nurturing for many years: to go in search of architectural gems taken over by nature, abandoned exhibition sites, and pavilions that had been moved or repurposed.
In her artistic approach, Ève Cadieux favours two approaches and becomes an "archaeologist-artist": either she focuses on the memorial object, or she looks at places in transition and their remains. ‘I Have Seen the Future’ ties in with this notion of transition. With each planned visit, Ève Cadieux gathers documentation. She knows that nothing lasts forever. She records, as if they were markers, these places which initially were destined to be dismantled once the lights had been turned off, so to speak.
The artist’s installation was designed for the Atomium. Instead of simply hanging photographs on the walls, Ève Cadieux wanted to establish a dialogue with the architecture of this setting. The scenography gives pride of place to the marriage of light and the works.
Of all the vestiges of World’s Fairs, the Atomium is one of the lucky ones. Its heritage value was recognized early on and it received funding from all levels of power in Belgium. It escaped demolition and was thoroughly renovated in 2006.
The result: some 650,000 visitors per year and an opportunity to enjoy unbeatable views of Brussels. This photographic installation is also an opportunity to see Ève Cadieux’s uncompromising view of a universal phenomenon.
*’I Have Seen the Future’ is the slogan that appeared on the pins of the Futurama exhibit and ride at the 1939–40 New York World’s Fair.
Atomium
Laeken
Exhibition
I have seen the future
Daughters
Conceived in the context of the Art Nouveau year, « Daughters » proposes to create a dialogue between past and present by connecting female Art Nouveau artists and contemporary female artists practising the same mediums (textile, silk painting, sculpture, engraving, etc.). The aim is to present and promote these artists and observe how their shared practice creates a genuine link among them.
Daughters is a collective project created by artist-photographer Barbara Salomé Felgenhauer, architect and author Léone Drapeaud, and floral scenographer Elléa Cartier: «The notion of heritage was immediately obvious to us. As feminists, we place ourselves in the lineage of the women who paved the way for us and feel a desire to remember the past, making it visible in the present, for the future.»
While the Art Nouveau style advocated for equality among all the arts, at the turn of the twentieth century gender parity was far from being a reality. Several Art Nouveau artists have been inscribed in history, yet they include few women, unless they are associated with men. This invisibility is sometimes linked to the fragility of the chosen medium, but is most often due to the dictates of society that tend to forget the work of women.
This exhibition pays tribute to eight Art Nouveau figures by connecting them to the work of contemporary artists through the use of specific mediums in their respective practices. The selection of these contemporary artists was made through an open call on social networks, the condition being that they identified themselves as Belgian female artists and/or living in Brussels. The choice of these heiresses was made on the basis of the proximity of a medium, a technique, a subject, or a visual kinship with the work of one of the Art Nouveau artists. By presenting their works side by side, the exhibition aims to shed light on their processes and forms an intergenerational link between their practices in each medium’s art historical tradition.
The photographic diptychs have been created to reflect each artist’s world, with a «half-body» portrait, reminiscent of portraits painted as early as the 17th century, and a detail of the artist’s creative hands. For their portrait, they sit facing us against a single-colored background, wearing their work clothes and an imposing floral headdress conceived and created on the basis of their respective worlds. The headdress draws attention to the face, the bearer of our deepest identity, a vector of bonds and emotions. Plants are an important subject in the Art Nouveau style, but they also allow us to consciously reappropriate a discourse that essentializes and devalues a certain feminine nature. As for the photography illustrating the artist’s medium, it focuses on doing, by capturing the movement of their hands in action. This gesture is the language of an immemorial practice that becomes the subject of the exhibition.
During this meeting with the artists to capture their portrait, a discussion took place on their relationship to art in general and their practice in particular, their practice in particular, from which a phrase was selected to accompany the photographs. This quotation forms a link between the contemporary artist and the historical artist through their shared medium. By doing so we nourish memory, weaving links that are a source of resistance to be celebrated for their continuity through the rereading and rewriting of history, as well as the presence of women in public space.
The Exhibition “Daughters” is a common project developped in the context of Art Nouveau Brussels 2023 with the support of asbl Patrimoine & Culture (Halles Saint-Géry) and urban.brussels.
Photographe et directrice artistique / fotografe en artistiek directeur / photographer and artistic director : Barbara Salomé Felgenhauer. Autrice / schrijfster / authoress : Léone Drapeaud. Graphiste / grafisch ontwerpster/ graphic designer : Céline Boveroux (Studio la Folie). Scénographe florale / bloemsierkunstenares / floral scenographer : Elléa Cartier. Assistantes photographe / assistenten schietfotograaf / assistants photographer : Camille Poitevin & Anna Safiatou Touré. Artistes / Kunstenaars / Artists : Olga Boiché, Laura Bossicart, Lou Cocody Valentino, Brigitte Danse, Camille Dufour, Chanel Kapitanj, Mégane Likin & Zyle. Textes / teksten / texts : Alice Graas, Murielle Lesecque, Alicia Yakhoui. Relecture / proeflezen / proofreading : Lou-ann Albiol-Ducos, Nikolaos Akritidis, Wim Kenis, Laura Marot, Pascal Van Steenbrugge. Remerciements / dank aan / acknowlegments : Julie de Caluwé, Lieza Dessein, Pascale Ingelaere, Thierry Wauters.
Barbara Salomé Felgenhauer (photographe and artistic director); Léone Drapeaud (authoress); Céline Boveroux (graphic designer); Elléa Cartier (floralscenographer); Camille Poitevin & Anna Safiatou Touré (assistants photographer); Olga Boiché, Laura Bossicart, Lou Cocody Valentino, Brigitte Danse, Camille Dufour, Chanel Kapitanj, Mégane Likin & Zyle (artists).
Van Eetvelde Hotel & LAB·An
Brussels
Exhibition
Daughters
Kintsugi d'Hinde Kebbache
Centre culturel Espace Magh asbl
Brussels
Exhibition
Kintsugi d'Hinde Kebbache
Expo De Anjerrevolutie I La Révolution des oeillets
GC Elzenhof
Ixelles
Exhibition
Expo De Anjerrevolutie I La Révolution des oeillets
Sébastien Reuzé, Sybren Vanoverberghe - 'Kryztal '
Contretype
Saint-Gilles
Exhibition
Sébastien Reuzé, Sybren Vanoverberghe - 'Kryztal '
UNIQUE - Beyond photography
Group show that reflects the commitment of the artists to reappropriate the medium during their creative process.
Nicolas Andry (BE), Pepe Atocha (PE), Sylvie Bonnot (FR), Aliki Christoforou (BE), Dana Cojbuc (RO), Antoine De Winter (BE), Gundi Falk (AT), Marina Font (AR), Lior Gal (IL), Audrey Guttman (BE), Romane Iskaria (FR), Morvarid K (IR), Kíra Krász (HU), Douglas Mandry (CH), Alice Pallot (FR), Raphaëlle Peria (FR), Luc Praet (BE), Anys Reimann (DE), Stephan Vanfleteren (BE), Laure Winants (BE), Vincent Zanni (CH).
Hangar
Ixelles
Exhibition
UNIQUE - Beyond photography
Expo 'Het Antropoceen langs de Maalbeek'
GC Elzenhof
Ixelles
Exhibition
Expo 'Het Antropoceen langs de Maalbeek'
Finissage Window-expo Marlies Van Wielendaele
GC De Maalbeek
Etterbeek
Exhibition
Finissage Window-expo Marlies Van Wielendaele
Rattus
"Are there really rats in here?" is a question we often get from our visitors. Is this due to a lack of knowledge about the species or because of a fear of rodents? One thing is for sure, the rat has a bad reputation! But is this well-founded? After all, what do we really know about these critters? It is time to sweep a few preconceptions and stereotypes about this species off the table.
With Rattus, the Sewer Museum highlights the rat for its first themed year. On the programme: an exhibition stretching out over all the museum's rooms. The expo is fun and interactive and richly illustrated with videos and photographs by La Minute Sauvage.
La Minute Sauvage (photographs and videos)
Sewers Museum
Bruxelles
Exhibition
Rattus