If Jean-Michel Folon were still alive, he would have been gratified to see his sculptures nestled among the remains of Villers Abbey in the Walloon town of Villers-la-Ville. 

The Belgian sculptor always had a fascination for the subtle yet powerful relationship between sculpture and architecture, two diverse disciplines that share a three-dimensional form in common.

Folon’s sculptures were designed to live outdoors. Exposing his works to the beauty of architectural sites and watching how they converse with their environment was a tradition Folon kept throughout his life.

The perfect setting for a poetic journey

The Villers Abbey provides the ideal setting for the poetic journey that unfolds as you encounter the creations of Folon. With eight centuries and 36 hectares of illustrious history, the former Cistercian monastery invites curiosity and contemplation, much like Folon’s art. 

Against an elaborate and mesmerising background, the sculptures of Folon come off as endearing for their humble and modest appearance. Instead of getting drowned out, they seem to speak even louder.

Folon often reduced his subject to its simplest form. He limited the use of symbols to what was essential and universal. It had to be that way because Folon’s sculptures weren’t intended to dominate or intimidate. They were meant to harmonise with their surroundings and spark a connection with the spectator.

The main character in Folon’s work is a man wearing a plain suit and bearing minimal features. Simple yet mysterious, sometimes playful but always thought-provoking. He represents somebody, nobody, and everybody at the same time. And although he is a work of art, this figure is really just another visitor contemplating the world around him. Like you. 

The exhibit at Villers Abbey features 22 of more than 400 wood and bronze sculptures by Folon. One section of the abbey takes you down the Allée des Pensées or Alley of Thoughts, a sculptural ensemble of eight works depicting Folon’s main character. Each statue has a different object for a head, provoking a dialogue with the viewer.

Who are they and what’s their story? Are they one and the same character captured in different moments of reflection? Or different individuals with their own interpretation of one and the same subject? That’s between you and Mr. Folon.

Jean-Michel Folon began devoting himself to sculpture in 1993 following a long and established career as a watercolor painter, illustrator, and printmaker. His sculptures have travelled all over Belgium and to other parts of the world, from Europe to America and all the way to Asia. 

In 2003, Folon was named ambassador to UNICEF and accorded the Legion of Honor, the highest French order of merit. He established the Folon Foundation located in the farm of Château de la Hulpe in Solvay Park. 

The Folon Expo at Villers Abbey marks the 20th anniversary of the Folon Foundation. The event opened last October and ends on March 21. If you miss it, you can always visit the works of Folon at Château de La Hulpe. From March 27 to November 7, the Folon Foundation will hold an exhibit featuring the posters designed by the versatile Belgian artist.

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Since a young age, Noteboom was eager to be in the center of world affairs. He saw the Velvet Revolution in Budapest, the coup against Salvador Allende in Chile, the fall of the Berlin wall, and he has written about them in great detail.

A recipient of the renowned peace prize, the Pegasus Prize, the Anne Frank Prize, the Aristeion Prize, and multiple other literary prizes, Nooteboom let the audience come along with him on some of his life adventures and journeys as he read various excerpts from his work.

Travel has offered him the possibility to participate in many monumental, life evolving events. It has also given him the freedom to create new identities: “When I travel, I can have more lives than just the one, more identities, more stories. Traveling is like meditating. In the moment, one doesn’t belong to anything, and traveling becomes a commute between two worlds.”

He described the expression Das ewige Pilger des fehlendes which could be translated as forever being the pilgrim that misses one of the worlds. At the same time, he continued, if he were to remain in one place, he would sense a fracture if staying at home.

Known to be playful with his writing, Nooteboom has described the existence of mountains in the Netherlands – a notoriously flat terrain. But because the Netherlands is a small country, he has extended his story telling from the Netherlands on to the Alps, to Greece, Spain, and to many other destinations. He now divides his time between Amsterdam, Menorca, a winter escape in Germany, as well as Venice, a place he associates with the abundance of art.

“The old power behind Venice has disappeared except for traces of it in the buildings, the architecture,” he said. In Venice, where cars are not allowed and there are few bikes, “walking is like thinking. One has to think and one has to walk. It’s quite simple. In Venice, it is possible to dive into art and just disappear, escape in the beauty and mesmerizing of seeing. Art moves us forward.”

He also spoke affectionately of the Belgian writer Hugo Claus, a friend whose contributions spanned the genres of poetry, drama, the novel, as well as of painting and film directing, and who chose to die by euthanasia.

Nooteboom described him as someone who remained true to himself until the very end, as “someone who lived with unyielding self-confidence – perfect self-assurance”. Noteboom recalled the festive yet melancholic atmosphere at Claus’s home the last week of his life. “We drank glass after glass of champagne while he was dying. The drama was underneath the surface of that joy.” But it was Claus’s humor, his knowledge, the traits that stayed on and inspired Noteboom as a writer.

In Spain he looks at the sky and he likes to believe he has bought a parcel in the sky. “I never stop to be amazed. At every single aspect in the universe. That’s how I like to observe the world.”

Flagey, Goethe-Institut Belgien, De Bezige Bij, Tropismes, Paard Van Troje, Buchfink

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IncarNations presents an original blend of classical and contemporary art from Africa and its diaspora in a dynamic setting. The exhibition includes a room on the ongoing recovery project around the Dundo Regional Museum, where a recently rediscovered flyswatter was put on display. The mask will now also be given a place in this room from Tuesday 23 July until the end of the exhibition (6 October).

This is a ‘Chihongo’ mask, from the Chokwe people of Angola. Masks of this type are traditionally associated with the mukanda initiation ceremonies.

Recovery Mission

The Congolese collector, art patron and entrepreneur Sindika Dokolo launched an ambitious recovery mission in 2014. The aim of this project is to track down pieces of art from the collections of the Dundo Regional Museum which disappeared during the Angolan Civil War (1975-2002) and return them to their country of origin.

Through the collective efforts in partnership with collectors, art dealers, auction houses, international researchers and experts, 13 works have already been recovered and returned to the Angolan government since the start of the mission. In this way Dokolo supports the commitment of African institutions to take the management of their heritage into their own hands.

Important sources for the detective work

An image of this mask was first published in 1956 by José Redinha, then director of the Dundo Museum.

The mask is also included in a work of reference from 1961, published by Marie-Louise Bastin, Emeritus Professor at the Université Libre de Bruxelles. She did pioneering work in classifying and documenting around 300 important works in the Dundo Regional Museum.

Finally, the archives of the AfricaMuseum in Tervuren are another essential source in tracking down lost pieces, and research into the origins of the items is still done in close collaboration with the AfricaMuseum. The archives include an inventory of the ‘Bureau international de Documentation ethnographique’, with detailed cards giving accurate descriptions of 830 collection pieces from the Dundo Regional Museum.

Incarnations: Africa Art As Philosophy (28.06 – 06.10.2019)

South-African artist/curator Kendell Geers and Congolese art collector Sindika Dokolo selected together 150 works of art from Dokolo’s impressive collection. Their aim is to lead the visitor towards a change in the perspective on ancient and contemporary African art, by focusing on the spirituality that binds them.

IncarNations is at once a mix and exchange between classical and contemporary art from Africa and its diasporas. The masks, images and historic objects act as milestones, anchoring contemporary works in the ancient context of live creation.

The scenography, a vibrant compilation of image, sound and colour, evokes associations with the dynamic bustle of an African metropolis and underpins the vitality of the works on display.

The exhibition includes works by William Kentridge, Tracey Rose, Wangechi Mutu, Otobong Nkanga, Yinka Shonibare CBE, Pascale Marthine Tayou, Ana Mendieta, Kehinde Wiley, Andres Serrano, Aida Muluneh, Mwangi Hutter, Hank Willis Thomas, Adrian Piper, Lubaina Himid, Roger Ballen, Zanele Muholi, Phyllis Galembo.

Practical Information

BOZAR Centre for Fine Arts, Rue Ravensteinstraat 23, 1000 Brussels
Open: Tuesdays to Sundays, 10am > 6pm
Closed: Mondays

Tickets: € 10

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Memories, regrets, promises, moments tinged with joy or sadness, all fill up our reservoir of time. The ancient Greek philosopher Aristotle has argued that time is tied to change, that is, to temporal relations that occur between events. In this sense, time is characterized by its journey. The passage of time, subject to variation and transformation, and we, eager to get as many glimpses of it as possible. It is perhaps because we cannot fathom time without change that we scroll repeatedly through social media feeds, even if a feeling of ennui ultimately creeps up on us. The constant newness, the large chunks of information that we ingest might contribute to the impression that time lasts longer. Until we slip into the familiar, and time shrinks up considerably.

The neuroscientist David Eagleman said that the difference in how we perceive time consists in the way we process information. The unfamiliar requires us to break down many tidbits of information, and this prolongs time. The familiarity of the world does exactly the opposite. Memories are scarcer, less noteworthy, so the allotted time decreases as well. There is a painting at the Fin-de-Siècle Museum in Brussels that depicts the comfort of monotonous routine quite accurately.

In The Bather (1910), the Belgian Symbolist painter Léon Spilliaert (1881-1946) pictures a woman sitting on the edge of a street staircase. She gazes into what seems to be the sea. We cannot see her face, but from her slightly crooked back and right arm propped on the greyish-blue stair stone, we can sense a feeling of weariness invading the space around her. The waves resemble the passing of time, in a circular, linear, fluid motion. She does not seem to care either way, avoiding any direct involvement. It is only the little dog next to her, ears pointed up, that is curious enough to be a part of whatever happens around it.

“It is not that we have so little time but that we lose so much,” said the Stoic philosopher Seneca in On the Shortness of Life. He is a proponent of otium, leisureliness devoted to meaningful activities. Although Seneca encourages a retreat into philosophy, where introspection and intellectual pursuits are highly ranked, his primary focus is on leading an authentic life, free from vices that sink us into oblivion.

Procrastination is just one vice that we indulge in. The frenetic urge to do what does not need to be done is a welcome respite from the burden of busyness, the badge of honour we proudly display. Or so we tell ourselves, until procrastination and busyness become indistinguishable from each other.

We trifle with time at our behest. In the background, we hear the ticking sound of Mad Hatter’s watch from Alice’s Adventures in Wonderland. When we glance at it, we see that instead of the hour, it shows the day of the month, passing before our eyes.

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Distorted faces, pleasures of transgression, tormented souls inhabiting the bodies of thugs, prostitutes and war criminals is what connects the two artists together. In comparison to Francis Bacon, who received recognition in his mid-thirties with the Three Studies for Figures at the Base of a Crucifixion, an unsettling triptych with writhing creatures set against an orange background, Stéphane Mandelbaum remained on the margins of the art world even decades after his death. The lack of notoriety did not though hinder him from pursuing his passion for drawing, a creative way to compensate for dyslexia.

Portraits and images are paired with words, phrases and scribbles, predominantly in blue ballpoint pen, that are scattered all over the paper. Mandelbaum’s drawings are reminiscent of George Grosz’s caustic criticism of society and the raw gestural style of Jean-Michel Basquiat, however in a rather monochrome version. There is an outpouring of messages on violence, sex, Jewishness meant to shock, offend, outrage. Stéphane Mandelbaum draws you into a phantasmagorical world that goes beyond traditional western representations.

According to museum researchers, the amount of time that an average viewer spends contemplating a work of art ranges from 17 to 27 seconds. This time can be considerably extended when in front of one of Mandelbaum’s drawings. It is as if he is challenging you to explore and decipher his dreamlike compositions. Arthur Rimbaud, the enfant terrible that inspired him, alongside others whose life also ended tragically, such as the writer Pierre Goldman and film director Pier Paolo Pasolini, is pictured in a mountain-like shape with his head turned towards the viewer and scrawls flowing down around it. This gives the impression of a hunchback, and Rimbaud indifferently carrying its burden.

Francis Bacon was quoted as saying that “The feelings of desperation and unhappiness are more useful to an artist than the feeling of contentment, because desperation and unhappiness stretch your whole sensibility.” The work of Stéphane Mandelbaum attests to this belief. He preferred traumatic experiences and the unacceptable to fuel his art. It was maybe because his art became his life that he entered the criminal underworld as an art thief. The precocious child of Arié Mandelbaum, painter and art teacher, and Pili Mandelbaum, illustrator, remained true to this raw expressive style until the bitter end.

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Accessible, gripping conversations between art experts and magistrates, journalists, and professors of human rights will include you in the best dinner party conversation, showing you art in a new light. Learn how famous artists have considered basic human rights over the centuries and be amazed that the same issues – torture, justice, children’s rights, the death penalty, freedom of expression – are still being grappled with 500 years later.

10 different human rights are explored in 10 video conversations, each with one expert from the art world discovering a masterpiece with an expert from the world of human rights chosen by Amnesty Belgium.

The video series was the idea of Althea Williams, a former director at Amnesty Belgium and Geraldine Barbery from the Royal Museums of Fine Arts. The video series which has just been launched will enable first time and seasoned visitors to the Fine Art Museum to share the mindset of the artist and experience his or her perception, while fast-forwarding to our present world and seeing its relevance.

The masterpiece The Judgement of The Emperor Otto explores the notion of Justice, with a magistrate from the International Court of Human Rights talking with an art historian. Their conversation addresses the question of equal access to justice, fair trials and the notion of violence in justice, all of which are vitally important today.

Another work explored in the Justice conversations is Susanna and the Elders, painted in 1567. They addressed the question of the abuse of power by authority, its destructive influence on the fabric of society and the role of the citizen in opposing it.

Freedom of Expression

The Death of Marat is a masterpiece by Jacques-Louis David, painted at the time of The Reign of Terror during the French Revolution. Marat, murdered in his bath by Charlotte Corday, defends freedom of expression but, once in power himself, abuses that right, inciting hatred and is instrumental is sending many political opponents to their death. In David’s iconic painting, which can also be seen as political propaganda, Marat is depicted as an idealised martyr. The questions asked during this conversation concern the importance of freedom of expression: 1400 journalists have been assassinated in the past 25 years for their work and only 13% of the world’s population enjoys a free press today. And what are the limits to this freedom? Can you see Marat as a hero of the French Revolution, or can you see him as someone who abused his right to freedom of expression?

The 10 videos are free to download and are in French or Dutch with subtitles (English subtitles will be added during the summer months) and they are suitable for all ages and levels.

In addition, starting from September, on the first Wednesday of every month at 2pm there will be a tour by the museum guides.

To find out more about this, please click this link.

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visit.brussels, together with the Brussels collective Farm Prod and with the support of the City of Brussels, has developed a “PARCOURS Street Art” tour honouring the great Flemish master Pieter Bruegel in the heart of the capital. No fewer than 14 frescoes now adorn a number of facades in the Marolles district.

Brussels and Bruegel are inextricably linked. The artist spent part of his life in Brussels and is also buried there. Brussels was a great source of inspiration for him: it was where he painted two thirds of his works. His powerful patrons lived a few minutes’ walk from his house, on the Mont des Arts. Today it houses an important collection of Bruegel’s work; after the Kunsthistorisches Museum in Vienna, the Royal Museums of Fine Arts of Belgium own the largest collection of Bruegel’s paintings, and the Royal Library holds no fewer than 90 engravings.

Brussels felt a duty to hold several events to mark the 450th anniversary of the death of this world-renowned artist. visit.brussels, in collaboration with the collective Farm Prod, and with the support of Delphine Houba, Alderwoman of Culture, Tourism and Big Events in the city of Brussels, has also paid homage to Pieter Bruegel by developing a street art journey through the city centre.

From today, visitors can admire no fewer than 14 frescoes along the journey, created by who artists who are members of the collective, as other well as well-known artists: the perfect opportunity to discover Bruegel, in another time.

These 14 frescoes will be an integral part of the PARCOURS Street Art tour, which has been developed since 2013 by the City of Brussels. “How fortunate we are to be able to incorporate frescos inspired by Bruegel’s work in the PARCOURS Street Art tour, which is composed of nearly 150 works,” says Delphine Houba, Alderman of Culture, Tourism and Major Events in the City of Brussels. She added: “The City of Brussels is proud to host this tour in the Marolles district, which is home to the cultural centre that bears the artist’s name!”

Additional information

PARCOURS Street Art tour

Since 2013, the City of Brussels has played an important role in promoting urban art as a vector for social cohesion that is accessible to all. In recent years, the City has increased the frequency of such initiatives. Calls for projects, orders, and walls for free expression are all included in PARCOURS Street Art. These works, carried out both on the initiative of the City and the “personal” initiatives of others, are listed on the website www.parcoursstreetart.brussels. There are currently 150 frescoes included in this database that provides information on the works such as biographies on the street artists. This project to beautify the city is continuously growing and will be enriched in the coming months with a dozen new projects.

Farm Prod (BE)

FARM PROD, set up in Brussels in 2003, is a collective that brings together several visual artists around various creative projects. While they all have the same artistic background, each member has, over time, developed their own expertise. Today the team unites painters, graffiti and graphic artists, web-designers, illustrators and video makers. For 15 years they have used their different energies to organise and take part in sociocultural events, both in Belgium and abroad.

For more information on Bruegel visit: www.bruegel.brussels

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For the most part, the photographs feature a miscellany of largely anonymous individuals – including policemen, spectators, and amateur and professional cyclists – appearing in anonymous French and Belgian towns, mostly performing mundane tasks such as walking, waiting, eating, and talking. Such photographs are (very) occasionally juxtaposed with photos of the great Merckx himself, similarly engaged in mostly quotidian endeavours. (Given that his name appears in the exhibition’s title, I was slightly surprised to discover that a mere four photographs in the entire collection actually feature the great Belgian.)

Interestingly, the official press release for the exhibition assures us that such juxtaposition is, in fact, a classic Geysian trope: “The theme of [Geys’] photographic reportage is not to show the glamour of the race toward triumph, but the merging of the unusual and the everyday in the life of the cyclist. In his art Jef Geys weaves different levels together and puts them on an equal footing … e.g. a famous racing cyclist next to an ordinary cycling enthusiast. In this exhibition Geys again demonstrates his mastery of the contrast of High and Low.”

Similarly, the mini-biography of Geys published in the exhibition’s flyers notes that Geys “explor[ed] every aspect of his daily environment without ranking them”, before remarking that “photography has always been Jef Geys’ defining medium”, and that Geys possessed “an acute sense for artistic production”. These sentiments were also echoed by Sylvie Boulanger, one of the two co-curators of the exhibition, who stated yesterday at the exhibition’s opening ceremony that: “Geys was incredible. He took everything and elevated it to the level of art. He abolished hierarchies.”

Suggestive though many of these interpretative remarks undoubtedly are, they are also – upon reflection – seriously confusing. For one thing, “contrasting” the themes of “High and Low” culture would appear to be a distinct artistic endeavour to “placing [them] on an equal footing”, for the straightforward reason that that which is “equal” cannot coherently be “contrasted”. (In other words: to contrast dissimilar themes or images is not equivalent to equalising that which is superficially or initially distinct.) Furthermore, Geys’ tendency to “not rank” different aspects of his environment is similarly difficult to square with the thesis that he also possessed an “acute sense for artistic production” – for surely such an acute sense can only reasonably be said to exist in someone in possession of the relevant ability to determine what, exactly, is artistically significant.

Moreover – and most crucially – the claim that “photography has always been Jef Geys’ defining medium” is extraordinarily difficult, if not impossible, to reconcile with the fact that so many of the photos are manifestly amateurish in quality: in addition to a large proportion of them featuring nothing of any discernible interest whatsoever, many of them are blurred, a few are oddly tilted, and some even feature major obstacles in the camera’s line of sight.

Surprisingly, such an assessment of the photographs’ quality is one that is shared by the other co-curator of the exhibition, Francis Mary, who noted at the opening ceremony yesterday that, although the photos are “not professional”, this “does not matter” because “what is important is the recreation of the atmosphere and the scenery of a particular moment in history.” But such a remark – though contentious in and of itself – in turn only raises another obvious question: How are we supposed to admire this work by Geys – someone who, the exhibition’s press release assures us, was a “pioneer in the Belgian art world” and “one of the most influential post-war Belgian artists” – when he was, according to one of the exhibition’s own curators, a complete and utter amateur in his own “defining medium”?

Arguably, the only (somewhat) interesting part of the Jef Geys exhibition has little to do with Jef Geys at all, but instead involves the aforementioned archived front pages of the two Belgian newspapers chosen by the curators, namely De Standaard and Het Nieuwsblad. Most notably, De Standaard’s front page fails to even mention Eddie Merckx, but instead devotes all of its space to covering the moon landing, while Het Nieuwsblad gives roughly equal space to both the moon landing and Eddie Merckx’s Tour victory.

Het Nieuwsblad’s implicit suggestion of parity between these two events will strike many readers as utterly preposterous, perhaps even comically so. However, given the nature and overall theme of the exhibition, an alternative interpretation naturally suggests itself: Are the curators, perhaps, simply attempting to reinforce the Geysian theme of contrasting (or equalising) “High and Low”, this time by juxtaposing what is arguably the highest pinnacle of human scientific achievement with the relative low of a victory in an annual sporting event that few people outside – or for that matter, even inside – Western Europe care(d) about?

(For what it’s worth, my own view is that such interpretative charity would be unwarranted – or, at the very least, as unwarranted as the interpretative charity that the curators appear willing to extend to Geys.)

During her remarks yesterday, Ms Boulanger related a comment that Geys once made to her in a private email: “My mother [wrote Geys] gave me some good advice: be wise… and the rest I’ve forgotten.” Vapid though this advice is, one can’t help escape the feeling that, had Ms Boulanger truly adhered to it, this exhibition probably wouldn’t exist at all.

The post Review of Jef Geys’ new photo exhibition at Bozar: “The Tour de France 1969 of Eddy Merckx” appeared first on Brussels Express.

“By integrating art, design and heritage in the context of a youth festival, we want, among other things, to ensure that museum visits are once again an integral part of youth culture,” explained the Flemish Minister of Culture, Sven Gatz.

This year’s exhibition will held in Pukkelpop’s ART Yard, located right in front of the main stage. It is anticipated to be significantly larger than last year’s exhibition.

Thus far, artists Christian Bakalov, Sietske Van Aerde, Clara Lissens, Gerard Herman, Müge Yilmaz and Benjamin Vandewalle have all promised to contribute to the project.

Institutional contributors include the Museum of Contemporary Art in Antwerp, the M Museum-Leuven, the Fashion Museum in Hasselt, the Museum of Fine Arts in Ghent, the Mu.ZEE Ostend, and the Museum of Contemporary Art in Ghent (SMAK).

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Kunstenfestivaldesarts also hosts a Free School, dedicated to the sharing of artistic practices, knowledge and reflections. This school addresses a crucial question: if we were to invent a school today, what would its curriculum be, and who would it be for? All the school activities are free of charge and aim to accommodate a multiplicity of possible participants.

The festival centre and box office will be located at Recyclart. During the festival, Recyclart will be a place to meet and share food, with parties every Friday and Saturday. La Raffinerie / Charleroi Danse, Cinemaximiliaan and Decoratelier are partners of this centre in Rue de Manchester, hosting projects and becoming central elements of the Free School for ten days and during the festival’s opening and closing nights. The general idea of the festival centre is not to create a new initiative, but to empower an emerging and already existing cultural hub.

The Kunstenfestivaldesarts in 2019, that is 39 artistic projects, 19 world premieres, 185 performances, 3 exhibitions, 46 artists from 24 different countries and 29 venues in Brussels.

You will find the complete programme on the website and in the programme book.

More information about this edition can be found in the press kit. Ticket sale starts on April 12. From this date, you can book your press tickets via press@kfda.be.

Practical info: festival center & box office

Recyclart

Rue de Manchester 13-15 Manchesterstraat, 1000 Brussels

+ 32 (0)2 210 87 37 / tickets@kfda.be

www.kfda.be

Start ticket sale: 12.04.2019

Tickets online: www.kfda.be/tickets

Box office opening hours

12.04–9.05.2019, Tuesday–Saturday 12:00–19:00

10.05–01.06.2019, every day 12:00–20:00

Parties

10.05.2019 Opening Party, 23:00 with i.a. Islam Chipsy > @Recyclart

01.06.2019 Closing Party, 23:00 > @Recyclart

Every Friday & Saturday, 23:00–… > @Recylcart

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