vernissage vr 13/01 ve
19:00 > 20:30
vr 14/01 ve > za 05/03 sa – open wo > vr ouvert me > ve
13:00 > 18:00
Christoph Hefti
My Twisted Chippendale and his Moody Horse – A Sketchbook Installation
Kunstenaar en muzikant Christoph Hefti is voortdurend onderweg, met als loyale reisgezel zijn eeuwige notaboekje vol krabbels, schetsen, aanzetten tot gedachten of songteksten. In deze installatie-tentoonstelling krijgen deze schetsen en aanzetten nu eens de hoofdrol toebedeeld. Een camera raast over de bladen heen, en ontdekt doorlopende lijnen, onvermoede rode draden, sluipwegen, spookgangen en geheime paden.
I’m constantly on the road, always short in time and there’s always too much in my head.
I free my head by making scribbles and sketches in a little notebook that I carry around the whole time. It’s not a diary. I use it for designing, planning, composing. It is not about making a “nice drawing” but rather about spitting out an idea. The paper and the pen shape my thoughts. The scribbles catch me like a lasso, tie me up, sing, talk and shout at me, or sometimes they get lost between the empty pages and my dizzy head. My notebook works like a stage, a catwalk, a record cover, a sewing machine and a projection screen. There, I’m not too old to be a dancer, not too pale to play a Rio Carnival Queen, not too hairy to be a Chippendale and not too weak to carry a horse. In my notebook I can carry out all my dreams and wildest ambitions.
Following the chaos of World War I, a move emerged toward figuration, clean lines, and modeled form and away from the two-dimensional abstracted spaces, fragmented compositions, and splintered bodies of Cubism, Futurism, Expressionism, and other avant-garde styles of the opening of the 20th century. In response to the horrors initiated by the new machine-age warfare, artists sought to recuperate and represent the body, whole and intact. For the next decade and a half, classicism—a return to order, synthesis, organization, and enduring values, rather than the prewar emphasis on innovation at all costs—dominated the discourse of contemporary art. Chaos and Classicism: Art in France, Italy, and Germany, 1918–1936 traces this interwar trend as it worked its way from a poetic, mythic idea in the Parisian avant-garde; to a political, historical idea of a revived Roman Empire, under Benito Mussolini; to a neo-Platonic High Modernism at the Bauhaus, and finally to the chilling aesthetic of nascent Nazi culture. The exhibition interweaves the key movements that proclaimed visual and thematic clarity, Purism, Novecento Italiano, and Neue Sachlichkeit, through several closely related but distinct themes. This vast transformation of interwar aesthetics in Western Europe encompasses painting, sculpture, photography, architecture, film, fashion, and the decorative arts, and the show presents works by Balthus, Giorgio de Chirico, Jean Cocteau, Otto Dix, Pablo Gargallo, Hannah Höch, Fernand Léger, Henri Matisse, Ludwig Mies van der Rohe, Pablo Picasso, and August Sander. Chaos and Classicism is curated by Kenneth E. Silver, Guest Curator and Professor of Modern Art, New York University, assisted by Helen Hsu, Assistant Curator, Solomon R. Guggenheim Museum, New York, with Vivien Greene, Curator of 19th- and Early-20th Century Art, Solomon R. Guggenheim Museum, New York, as curatorial advisor.
This exhibition is supported in part by grants from the National Endowment for the Arts and The David Berg Foundation.
Belgian Premiere : CHILDREN OF WAR by Bryan Single – Day of the Human Rights
in the presence of the director
Friday 10.12.2010 19:00
Centre for Fine Arts / Hall M
A civil war has been raging in Uganda for the past 20 years. 35,000 children have been kidnapped and forced to serve in the rebel army. In the North, a rehabilitation center takes child soldiers in and prepares them to return to their families. For three years, Bryan Single followed the emotional and spiritual journey of some of these children. In his film, the beauty of the images contrasts with the harshness of the testimonies. A splendid illustrated history of a country thirsting for forgiveness and hope. For the second year running BOZAR CINEMA is showing an engagé documentary on December 10th, which is International Human Rights Day. Undoubtedly the beginning of a beautiful tradition.
After the film, there will be a round table with:
Bryan Single He was born and raised in Tennessee. His creative exploration began in still photography while trekking through foreign lands. After attending the California Institute of the Arts, in Los Angeles, Brian’s passion focused on documentary filmmaking. He worked as a cinematographer and camera operator on several documentary and television projects. Children of War, which he produced, directed and edited, is his first documentary feature.
Els De Temmerman, Belgian journalist and author, founder of the NGO Childsoldiers in Uganda
Sri Kumar Vishwanathan, Indian activist defending the rights of Roma in the Czech Republic
Gabor Gombos, Hungarian defender of the rights of persons with mental disabilities
In the presence of Steven Vanackere, Vice-Premier Ministre et Ministre des Affaires étrangères et des Réformes institutionelles
David Murray Cuban Ensemble plays Nat King Cole en Espanol featuring Omara Portuondo Centre for Fine Arts Concert
David Murray conductor, – Omara Portuondo vocals – Roman Filiu – Ariel Bringuez – Pepe Rivero piano – Reiner Elizarde bass guitar – Georvis Pico drums – Denis Cuni trombone – Mario Morejon trumpet – Elpidio Chapotin trumpet – Abraham Mansfarroll congas – David Murray Cuban Ensemble , deFilharmonie
The saxophonist David Murray (whose background is in free jazz and other unadulterated jazz genres) takes on the Spanish-language ballads of the romantic Nat King Cole. The likes of Quizás, quizás, quizás and other catchy numbers, some of them well known from the film In the Mood for Love. You might be tempted to accuse Murray of a commercial sell-out – if he hadn’t called on the services of a number of outstanding Cuban musicians who are thoroughly at home in this repertoire. The singer is none other than Omara Portuondo, one of the last survivors of the Buena Vista Social Club – who in her young days shared a stage with Nat in Havana. The orchestral accompaniment will be provided by the strings of the Royal Flemish Philharmonic (deFilharmonie).
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