La poursuite des choses évidentes in Brasserie Atlas

Gepubliceerd op: 23 October 2018
That Belgium – and by extension Brussels – is known for its beer culture is the least one can say. This has resulted in considerable (industrial) heritage of breweries that is increasingly being reconverted. Wiels – and its neighbour Brass – are the most famous examples. But there is also the reconversion of the Belle Vue brewery in Molenbeek, where the MIMA museum for ‘street culture’ is housed as well as the splendid Art Deco Vandenheuvel brewery at Gare de l’Ouest/Weststation, the headquarters of the villains in Nicolas Provost’ urban thriller ‘The Invader’.
A lesser-known example is Brasserie Atlas, a deserted complex in Anderlecht. The complex was built in different phases, but the most striking element is the tower of around thirty metres in Art Deco style from the 1920s. A part of the complex is used by artists living and working there. Though normally not accessible for the public – apart from the occasional parties and concerts – one can now visit the building – upon pre-booking – during the beautiful exhibition ‘La Poursuite des choses évidentes’ with works of artists who have their studios in the complex. Most works are perfectly integrated in the scenic building, with dark tunnels, staircases and various rooms that offer different atmospheres.
 
Nicolas Bourthoumieux uses the existing lighting in the building and presents them here in a solemn atmosphere. Clara van der Belen made a model of the iconic building, cast in concrete. Tom Rider & Delphine Wibaux use one of the rusty barrels as an echo chamber, engendering a vibrating sound from within. In the so-called Chapelle, the place where the Gueze beer was brewn, Nancy Moreno shows her works. One of her drawings depicts a pigeon, for a long time the only dweller in the run-down building. The works on view are of a high standard and skilfully installed in this most striking venue. Definitely worth a visit!
 
Sam STEVERLYNCK
 
Participating artists: Antoine Jacqz, Clara van der Belen, Nicolas Bourthoumieux, Jonas Meier, Julien Dumond, Salomé Boltoukhine, Douglas Eynon , Tom Rider & Delphine Wibaux, Gijs Milius, Claude Cattelain, Nancy Moreno and Régis Jocteur Monrozier.
 
Fotogalerij

Praktische Info

La poursuite des choses évidentes until 11.11.2018. Open from Wed.-Sun. by appointment through mail to paule.courage@gmail.com

Keywords

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That Belgium – and by extension Brussels – is known for its beer culture is the least one can say. This has resulted in considerable (industrial) heritage of breweries that is increasingly being reconverted. Wiels – and its neighbour Brass – are the most famous examples. But there is also the reconversion of the Belle Vue brewery in Molenbeek, where the MIMA museum for ‘street culture’ is housed as well as the splendid Art Deco Vandenheuvel brewery at Gare de l’Ouest/Weststation, the headquarters of the villains in Nicolas Provost’ urban thriller ‘The Invader’.
A lesser-known example is Brasserie Atlas, a deserted complex in Anderlecht. The complex was built in different phases, but the most striking element is the tower of around thirty metres in Art Deco style from the 1920s. A part of the complex is used by artists living and working there. Though normally not accessible for the public – apart from the occasional parties and concerts – one can now visit the building – upon pre-booking – during the beautiful exhibition ‘La Poursuite des choses évidentes’ with works of artists who have their studios in the complex. Most works are perfectly integrated in the scenic building, with dark tunnels, staircases and various rooms that offer different atmospheres.
 
Nicolas Bourthoumieux uses the existing lighting in the building and presents them here in a solemn atmosphere. Clara van der Belen made a model of the iconic building, cast in concrete. Tom Rider & Delphine Wibaux use one of the rusty barrels as an echo chamber, engendering a vibrating sound from within. In the so-called Chapelle, the place where the Gueze beer was brewn, Nancy Moreno shows her works. One of her drawings depicts a pigeon, for a long time the only dweller in the run-down building. The works on view are of a high standard and skilfully installed in this most striking venue. Definitely worth a visit!
 
Sam STEVERLYNCK
 
Participating artists: Antoine Jacqz, Clara van der Belen, Nicolas Bourthoumieux, Jonas Meier, Julien Dumond, Salomé Boltoukhine, Douglas Eynon , Tom Rider & Delphine Wibaux, Gijs Milius, Claude Cattelain, Nancy Moreno and Régis Jocteur Monrozier.
 
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La poursuite des choses évidentes until 11.11.2018. Open from Wed.-Sun. by appointment through mail to paule.courage@gmail.com

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Afgelopen vrijdag opened in het Zuiderpershuis in Antwerpen de tentoonstelling COOK IT BOIL IT BAKE IT or FORGET IT. Hierin zetten de Koninklijke Academie voor Schone Kunsten Antwerpen en Sint Lucas Antwerpen hun pas afgestudeerde masters in de spotlights. Curator Nadia Bijl volgde de 130 masters uit beide scholen tijdens hun laatste maanden en maakte een eclectische selectie van 27 kunstenaars en ontwerpers uit de verschillende afstudeerrichtingen.
 
De titel is een oproep aan de jonge kunstenaars om na hun opleiding actief aan de kunstwereld deel te nemen en de vinger aan de pols te houden. Het uitroepteken duidt ook op de urgentie van de jonge garde om zich te ontwikkelen, te blijven werken en zich niet zomaar te conformeren.
 
Deelnemende kunstenaars: Samuel Allemand, Elena Aya Bundurakis, Atilla Buonsenso, Bertrand Cavalier, Valentin Cernat, Zeyun Chen, Charlotte Christoffels, Larissa Cluzet, Pierre Coric, Michela Dal Brollo, Jack  Davey, Ayrton Eblé, Niels Goos, Emma Heiðarsdóttir, Stefan Kartchev, Molly Kwok, Jonne Nurmela, Jan Willem Reimus, Sanne Roekaers, Robert Soroko, Olga Suveizdyté-Claes, Stijn ter Braak, Charline Tyberghein, Leendert Van Accoleyen, Sietske Van Aerde, Tim Verherstraeten en Robin Vets.
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COOK IT BOIL IT BAKE IT or FORGET IT! tot 4 november in het Zuiderpershuis, Waalsekaai 14, Antwerpen. Open wo-zo van 13-19 u.

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De Vrienden van het S.M.A.K. nodigen dit najaar in hun tentoonstellingsruimte in het Gentse museum (in de inkomhall, rechts) drie jonge kunstenaars uit om hun werk te tonen. Het gaat om Bendt Eyckermans, Alfred D’Ursel en Wim De Pauw. Bendt Eyckermans, is als eerste aan de beurt, nog tot 4 november.

Eyckermans (°1994) studeerde in 2016 af aan de Antwerpse Academie en werkt in het atelier van zijn grootvader, de beeldhouwer Lode Eyckermans, die overleed in 1998. Het atelier zelf en beelden van grootvader Lode, in een realistische vormentaal geïnspireerd door de afkeer van (oorlogs)geweld en door de erotiek van het model, duiken vaak op in het schilderwerk van Bendt Eyckermans. In de elf doeken die hij in de Vereniging toont is te zien hoe hij beïnvloed is door een zekere traditie, niet alleen die van zijn beeldhouwende grootvader, maar ook die van schilders als Constant Permeke en Gustave Van de Woestyne.

Aan de andere kant is het werk ook eigentijds: het lijken fragmenten uit een groter verhaal, filmstills als het ware, waarin je als kijker zelf het verhaal kan (re)construeren. Dat wordt nog versterkt door de bizarre titels die de werken krijgen: het doek van een jonge man die aangevallen wordt door vogelsheet ‘Where is the feast that I was promessed?’.  In ‘A Lover’s Sight’ zijn sculpturen van Lode Eyckermans in het atelier te zien, het gesloten beeld van een gesloten winkelluik heet ‘The anxious battle for sanity’, de helpende anonieme hand bij iemand die valt heet ‘A Stranger’s Hand’, een meisje met een I-phone krijgt de titel ‘I think, somewhere down the road I took a wrong turn…’. Misschien zijn die titels wel een zwakker punt in dit overigens sterke schilderwerk, en moet het allemaal wat enigmatischer. Maar het is duidelijk dat Bendt Eyckermans een groot talent is.

MR

 

 

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‘A Stranger’s Hand’ van Bendt Eyckermans tot 4 november in de tentoonstellingsruime van de Vrienden van het S.M.A.K., Gent.

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