Maryam Najd in het Groeningemuseum Brugge

Gepubliceerd op: 14 July 2016

Eens immigrant, altijd zo. Bij Maryam Najd, zelf een uitwijkeling, vormt de zoektocht naar identiteit een rode draad doorheen haar werk. De huidige vluchtelingencrisis weekt bij haar veel emoties los. Met haar schilderijen vindt ze een manier om emoties die ermee gepaard gaan te verbeelden. Daarnaast wil ze met bevroren momenten de kijker doen stilstaan bij de problematiek. Voor deze ontroerende reeks slaan het Groeningemuseum en cultuurcentrum De Bond in Brugge de handen in elkaar.

Praktische Info

Geen praktische info beschikbaar.

Keywords

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Eens immigrant, altijd zo. Bij Maryam Najd, zelf een uitwijkeling, vormt de zoektocht naar identiteit een rode draad doorheen haar werk. De huidige vluchtelingencrisis weekt bij haar veel emoties los. Met haar schilderijen vindt ze een manier om emoties die ermee gepaard gaan te verbeelden. Daarnaast wil ze met bevroren momenten de kijker doen stilstaan bij de problematiek. Voor deze ontroerende reeks slaan het Groeningemuseum en cultuurcentrum De Bond in Brugge de handen in elkaar.

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Georgiana Houghton, goddelijk geïnspireerd.

Georgiana Houghton? Euh? Nooit van gehoord? Weinigen kennen de Engelse Victoriaanse schilderes van abstracte ‘spirit drawings’ en nu hangt haar werk in het prestigieuze Londonse Courtauld Institute dat meesterwerken van Breughel, Rubens, Michelangelo, Manet, Renoir, Van Gogh, Gauguin, Modigliani,… uitstalt. Bovendien lijkt Georgiana de voormoeder van de Optical Art te zijn.

Eliane VAN DEN ENDE

1871. Bond Street, London. Een prestigieuze galerij. Een perplex publiek dat zich vergaapt aan een reeks bizarre werken. Felle kleuren en fluïde lijnen, maar wat stellen ze voor? Droedels, zouden we nu zeggen. Krabbels die een mens maakt in schijnbaar verloren minuten. Voor de als kunstenaar opgeleide Houghton zijn het goddelijk geïnspireerde tekeningen. Lang voordat het Surrealisme en kunstpaus André Breton ‘l’écriture automatique’ bedacht, liet Georgiana haar hand leiden door geesten en bovenaardse inspiratie. Houghton (1814- 1884) was een spiritualiste en een medium. Niet zo’n wonderlijk fenomeen in de Angelsaksische wereld van de tweede helft van de 19e eeuw. Sir Arthur Conan Doyle, de schrijver van Sherlock Holmes, geloofde ook dat er een geestelijke lift tussen aarde en hemel was.

Na de Amerikaanse burgeroorlog geloofden heel wat burgers dat contact met het hiernamaals mogelijk op te roepen was; zelfs de eerste Amerikaanse feministes trachtten hun heil te vinden in spiritisme. Het ontluiken van fotografie (een flits die ineens een waarheidsgetrouw portret afleverde), elektriciteit, een onzichtbare – maar wel voelbare – energiestroom, morsetekens, de telefoon (praten met iemand die je niet kan zien) waren allemaal nieuwerwetse fenomenen in een toenemende industriële wereld.

Als onderdeel van haar praktijk als geestelijk medium begon Houghton aquarellen te produceren. Het doel van haar zorgvuldig georganiseerde tentoonstelling met een opzienbarende catalogus was om mensen aan te zetten ook te gaan droedelen. De ‘show’ was een debacle en Houghton was ei zo na bankroet maar toch bleef ze naderhand ‘spirit drawings’ produceren. Amper 50 van een vermoedelijk omvangrijk oeuvre zijn bewaard en 20 daarvan stelt het Courtauld Instituut tentoon. Het zijn verbazende, kleurrijke, ingewikkelde en handvaste raderwerken van lijnen (niet evident voor aquarel).

Het oogt chaotisch en gestructureerd, op het randje van ‘art brut’ en een duik in de kunstgeschiedenis met verwijzingen naar Titiaan en Corregio en wat religieuze esoterie, ondefinieerbaar tijdloos. Zoals indertijd worden toeschouwers nu ook aangemoedigd om ze te bekijken met een loep. En dan gebeurt er iets merkwaardigs: de tekeningen worden door het vergrootglas OP Art. Goddelijk geïnspireerd of niet, Georgiana Houghton was daarmee 100 jaar haar tijd vooruit. Dat is een verrassing. 

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‘Georgiana Houghton: Spirit Drawings’ is nog tot 11 september te zien in The Courtauld Gallery, Somerset House, Strand, London (UK).

Open ma-zo van 10-18u. www.courtauld.ac.uk ; www.eurostar.com

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Vluchten kan niet meer

Wordt dit nu echt de 36ste en laatste uitgave van wat vroeger de ‘Poëziezomer’ en nu ‘Kunstenfestival’ in Watou heet? Het ziet er naar uit, nu ook voor dit evenement de subsidiekraan dichtgedraaid wordt. Blijkbaar hebben ‘toegankelijkheid’ en ‘groot publieksbereik’ hun prijs.

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