BEGIN:VCALENDAR VERSION:2.0 CALSCALE:GREGORIAN PRODID:iCalendar-Ruby VERSION:2.0 BEGIN:VEVENT DESCRIPTION: DTEND:20141110 DTSTAMP:20140902T213807 DTSTART:20140911 GEO:50.8296724;4.3342271 LOCATION:Rectangle\,189 Rue Emile Féron \nBrussels\, 1060 SEQUENCE:0 SUMMARY:No Such Thing As Subject\, or\, Who Let the Nerds Out?\, Nicholas K night UID:354174 END:VEVENT BEGIN:VEVENT DTEND:20140910T210000 DTSTAMP:20140902T213807 DTSTART:20140910T180000 GEO:50.8296724;4.3342271 LOCATION:Rectangle\,189 Rue Emile Féron \nBrussels\, 1060 SEQUENCE:0 SUMMARY:No Such Thing As Subject\, or\, Who Let the Nerds Out?\, Nicholas K night UID:354175 END:VEVENT BEGIN:VEVENT DESCRIPTION:
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'LETRE is a performance in the present tense\, the essence of moments of being\, in writing.' The fourth exhibition in the Gesture \, and thought series at La Verriè\;re presents a minimalist ins tallation by French artist Benoî\;t Maire\, marking the latest stage i n the philosophical exploration underpinning his work.

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Bare walls and sculptures placed not on plinths\, but directly on the floor: Benoî\;t Maire's project LETR E is a striking work highlighting the relationship between its parts\, described by curator Guillaume Dé\;sanges as 'a vast installation of sculptures\, materials and collages\, organised into a composition governe d by no explicit rules\, exploring sensation and the expression of thought as form.' LETRE embraces the expression of the idea in form\, the object as the physical host\, the embodiment of thought.

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Playing on the title's French homonyms (lettre or letter\, and l'ê\;tre\, meaning a creature or being)\, Be noî\;t Maire presents a personal exploration of the concept of 'addres s\, and the purpose or destination of things.' One emblematic piece feature s the pointing finger of Leonardo da Vinci's Saint John the Baptist\, as a cut-out sticker applied to a stone. \;

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The third in a series of recent exhibitions in London and Va ncouver\, LETRE applies Maire's signature process: the 'sampling' of de-contextualised elements\, composed in relation to one another. As suc h\, the exhibition resonates closely with the Duchampian themes of the curr ent season at La Verriè\;re\, exploring the symbiosis of concepts and objects. \;

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Born in 1978\, Beno& icirc\;t Maire studied philosophy before shifting to art at the Villa Arson in Nice\, and post-graduate work at the Palais de Tokyo\, Paris. His work enacts a continuous dialogue between art and metaphysics\, exploring ideas and concepts in plastic\, proteiform\, often collaborative installations. H e was the joint winner of the Prix Fondation d&rsquo\;entreprise Ricard in 2010\, and is the author of numerous exhibitions in France and elsewhere.\n

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«\; LETRE est une performance au pré\;sent. »\; &la quo\; LETRE est la contingence é\;crite des moments de l'ê\;tre. »\; Quatriè\;me exposition monographique du cycle «\; Des gestes de la pensé\;e »\; à\; La Verriè\;re\, LE TRE dé\;voile\, au c&oelig\;ur d&rsquo\;un accrochage dé\; pouillé\;\, une nouvelle é\;tape du cheminement philosophique d e l&rsquo\;artiste franç\;ais Benoî\;t Maire.

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Dé\;pourvues de socles\, les sculptures sont à\; terre\, tandis que les murs demeurent vides : avec le projet LETRE conç\;u par Benoî\;t Maire\, La Verriè\;re accueille un projet des plus singuliers. L&rsquo\;exposition\, au sol donc\, privilé\;gie la rela tion entre les piè\;ces \; elle se pré\;sente\, selon son commi ssaire Guillaume Dé\;sanges\, comme une «\; vaste installation d e sculptures\, matiè\;res et collages agencé\;s comme une compo sition aux rè\;gles non explicites\, qui joue à\; la fois de la pensé\;e mise en forme et de la sensation »\;. LETRE a ssume pleinement la pré\;gnance de l&rsquo\;idé\;e dans l&rsquo \;objet mê\;me.

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Jouant avec l&rsquo\;homophonie du titre &ndas h\; entre lettre et l&rsquo\;ê\;tre &ndash\;\, Benoî\;t Maire rev endique «\; la question de l&rsquo\;adresse\, de la destination des ch oses »\; qu&rsquo\;il se ré\;approprie. Une piè\;ce embl&e acute\;matique convoque ainsi le doigt dressé\; du Saint Jean-Bap tiste de Lé\;onard de Vinci\, devenu un sticker appliqué\; sur une pierre. Pré\;lever des é\;lé\;ments\, les sortir de leur contexte et les mettre en relation avec d&rsquo\;autres piè\ ;ces\, elles-mê\;mes dé\;contextualisé\;es : fidè\;l e à\; ce processus\, LETRE fait suite à\; une sé \;rie d&rsquo\;expositions ré\;centes de l&rsquo\;artiste à\; L ondres et à\; Vancouver. Elle s&rsquo\;inscrit é\;galement dans le cycle duchampien de La Verriè\;re dans lequel concepts et objets entrent en ré\;sonance.

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De formation philosophique\, Beno&ici rc\;t Maire\, né\; en 1978\, a effectué\; un post-diplô\;m e au Palais de Tokyo à\; Paris aprè\;s un cursus à\; la V illa Arson\, à\; Nice. Dans un dialogue permanent entre art et m&eacu te\;taphysique\, il interroge pensé\;es et concepts é\;tablis d ans une &oelig\;uvre plastique proté\;iforme et souvent collaborative . Lauré\;at ex-aequo du Prix Fondation d&rsquo\;entreprise Ricard en 2010\, il a bé\;né\;ficié\; de nombreuses expositions en France comme à\; l&rsquo\;é\;tranger.

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>\;>\; Redé\;couvrir l'exposition inaugurale «\; \;De s gestes de la pensé\;e \;»\; à\; La Verriè\;re< /a>

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«\; LETRE est une performance au pr&eacut e\;sent. »\; «\; LETRE est la contingence é\;crite des mome nts de l'ê\;tre. »\; Quatriè\;me exposition monographique d u cycle «\; Des gestes de la pensé\;e »\; à\; La Verr iè\;re\, LETRE dé\;voile\, au c&oelig\;ur d&rsquo\;un accrochage dé\;pouillé\;\, une nouvelle é\;tape du chemin ement philosophique de l&rsquo\;artiste franç\;ais Benoî\;t Mair e.

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Dé\;pourvues de socles\, les sculptures sont &ag rave\; terre\, tandis que les murs demeurent vides : avec le projet LET RE conç\;u par Benoî\;t Maire\, La Verriè\;re accueil le un projet des plus singuliers. L&rsquo\;exposition\, au sol donc\, privi lé\;gie la relation entre les piè\;ces \; elle se pré\;se nte\, selon son commissaire Guillaume Dé\;sanges\, comme une «\; vaste installation de sculptures\, matiè\;res et collages agenc&eacu te\;s comme une composition aux rè\;gles non explicites\, qui joue &a grave\; la fois de la pensé\;e mise en forme et de la sensation &raqu o\;. LETRE assume pleinement la pré\;gnance de l&rsquo\;id&e acute\;e dans l&rsquo\;objet mê\;me.

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Jouant avec l&rsquo\;homophonie du titre &ndash\; entre lettre et l&rs quo\;ê\;tre &ndash\;\, Benoî\;t Maire revendique «\; la ques tion de l&rsquo\;adresse\, de la destination des choses »\; qu&rsquo\; il se ré\;approprie. Une piè\;ce emblé\;matique convoque ainsi le doigt dressé\; du Saint Jean-Baptiste de Lé\; onard de Vinci\, devenu un sticker appliqué\; sur une pierre. Pr&eacu te\;lever des é\;lé\;ments\, les sortir de leur contexte et les mettre en relation avec d&rsquo\;autres piè\;ces\, elles-mê\;me s dé\;contextualisé\;es : fidè\;le à\; ce processus \, LETRE fait suite à\; une sé\;rie d&rsquo\;expositio ns ré\;centes de l&rsquo\;artiste à\; Londres et à\; Vanc ouver. Elle s&rsquo\;inscrit é\;galement dans le cycle duchampien de La Verriè\;re dans lequel concepts et objets entrent en ré\;son ance.

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De formation philosophique\, Be noî\;t Maire\, né\; en 1978\, a effectué\; un post-dipl&oc irc\;me au Palais de Tokyo à\; Paris aprè\;s un cursus à\ ; la Villa Arson\, à\; Nice. Dans un dialogue permanent entre art et mé\;taphysique\, il interroge pensé\;es et concepts é\;ta blis dans une &oelig\;uvre plastique proté\;iforme et souvent collabo rative. Lauré\;at ex-aequo du Prix Fondation d&rsquo\;entreprise Rica rd en 2010\, il a bé\;né\;ficié\; de nombreuses expositio ns en France comme à\; l&rsquo\;é\;tranger.

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>\;>\; Redé\;couvrir l'exp osition inaugurale «\; \;Des gestes de la pensé\;e \;&ra quo\; à\; La Verriè\;re

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DTEND:20141018 DTSTAMP:20140902T213807 DTSTART:20140906 GEO:50.8368672;4.3565689 LOCATION:La Verrière Hermès\,50 Boulevard de Waterloo \nBruxelles\, 1000 SEQUENCE:0 SUMMARY:LETRE\, Benoît Maire UID:354172 END:VEVENT BEGIN:VEVENT DTEND:20140905T210000 DTSTAMP:20140902T213807 DTSTART:20140905T180000 GEO:50.8368672;4.3565689 LOCATION:La Verrière Hermès\,50 Boulevard de Waterloo \nBruxelles\, 1000 SEQUENCE:0 SUMMARY:LETRE\, Benoît Maire UID:354173 END:VEVENT BEGIN:VEVENT DESCRIPTION: DTEND:20141115 DTSTAMP:20140902T213807 DTSTART:20140913 GEO:50.8382746;4.3535219 LOCATION:Galerie Catherine Bastide\,67 Rue de la Régence Regentschapsstraat 67\nBrussels\, 1000 SEQUENCE:0 SUMMARY:Solo Exhibition\, William Pope.L UID:354168 END:VEVENT BEGIN:VEVENT DTEND:20140912T210000 DTSTAMP:20140902T213807 DTSTART:20140912T180000 GEO:50.8382746;4.3535219 LOCATION:Galerie Catherine Bastide\,67 Rue de la Régence Regentschapsstraat 67\nBrussels\, 1000 SEQUENCE:0 SUMMARY:Solo Exhibition\, William Pope.L UID:354169 END:VEVENT BEGIN:VEVENT DESCRIPTION: DTEND:20141024 DTSTAMP:20140902T213807 DTSTART:20140911 GEO:50.852614;4.3430206 LOCATION:Etablissement d'en face projects\,Antoine Dansaertstraat 161 \n Br ussels\, B-1000 SEQUENCE:0 SUMMARY:Earths but not in name UID:354166 END:VEVENT BEGIN:VEVENT DTEND:20140910T210000 DTSTAMP:20140902T213807 DTSTART:20140910T190000 GEO:50.852614;4.3430206 LOCATION:Etablissement d'en face projects\,Antoine Dansaertstraat 161 \n Br ussels\, B-1000 SEQUENCE:0 SUMMARY:Earths but not in name UID:354167 END:VEVENT BEGIN:VEVENT DESCRIPTION: DTEND:20141025 DTSTAMP:20140902T213807 DTSTART:20140911 GEO:50.7904904;4.3559193 LOCATION:Delire Gallery\,Rue De Praetere "opposite of 47" (Rivoli building Ground floor 21) \nBrussels\, 1180 SEQUENCE:0 SUMMARY:Group Show UID:354164 END:VEVENT BEGIN:VEVENT DTEND:20140911T210000 DTSTAMP:20140902T213807 DTSTART:20140911T170000 GEO:50.7904904;4.3559193 LOCATION:Delire Gallery\,Rue De Praetere "opposite of 47" (Rivoli building Ground floor 21) \nBrussels\, 1180 SEQUENCE:0 SUMMARY:Group Show UID:354165 END:VEVENT BEGIN:VEVENT DESCRIPTION:

 \;Project by Thomas Sauvin\, Melinda Gibson and Lei Lei

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Hundreds of thousands of images &ndash\; so m any moments snapped by strangers are tirelessly salvaged by Thomas Sauvin\, following a meeting in the Northern periphery of the capital city\, with X iao Ma\, a recycler who collects negatives in order to retrieve the Silver Nitrate. Sauvin\, a collector\, curator and publisher who has resided in Be ijing since 2003 gathers half a million anonymous negatives in 35 mm colour \, dating from 1985 to 2005 and ultimately destined for destruction.

Rescuing these snapshots\, n ot only date the period in which digital photography over took silver photo graphy but also further provide an authentic portrait of the Chinese capita l following the Cultural Revolution\, at a time of outward-looking reform.< /span>

Women proudly posing i n front of their first refrigerator\, children with Ronald McDonald\, notab ly family photos often showed only a single child\, (a policy instituted as of 1979) and adolescents beside portraits of Hollywood stars. Popular imag ery symbolized an opening to the world and bears witness to a country in me tamorphosis. With Deng Xiaoping in the 1980&rsquo\;s\, China entered into t he capitalist era\, and the acquisition of goods was no longer condemned as a &ldquo\;rightist&rdquo\; deviance. At the same time\, leisure time becam e institutionalized\, and employees began taking holidays\, travelling and taking advantage of their free time. Chinese subjects pose in front of monu ments\, theme parks and Western masterpieces like of the Mona Lisa.< br />
A strange homogeneity emanate s from the diversity of the photographs\, which constitute an inestimable a rchival source and inspiration. The framing\, the distance from the subject and the static poses all seem to respond to the same codes. Some might eve n say that it was the work of a single photographer.

Presented on the second floor\, is the debut of Lunar Caustic\, a conceptual collaborative reworking of the ar chive by British artist Melinda Gibson. Between art and chemistry\, prints are burned with Hydrochloric Acid and coated with Silver Nitrate\, isolatin g the true essence of the imagery\, revealing the unstable\, palpable\, org anic uncontrollable object. Their scientifically charged intervention gives the already digested images a new existence\, poetically evolving the tale of destructive innovation and leading to ultimately rebirth. It is down to Gibson&rsquo\;s artistic interventions that it is as if these photographs of yesterday are propelled into today&rsquo\;s world.


Born in 1985\, Melinda Gibson studied Photo graphy at The London College of Communication and is widely regarded for he r re-contextualisation and appropriation techniques that examine the evolut ion of perspectives in Photography.

Presented upstairs in the Hô\;tel Winssinger\, the video installation Recycled was born from an encounter with the Chinese artist Lei Lei. This stroboscopic animation compiles more than 3000 images from the archive\, connected to one another by themes\, places or similar compositions\, and revealing their profound nature in just a few minutes.

Born in 1985\, Lei Lei studied animated film at the University of Tsinghua. His film Recycled< /em> was the 2013 recipient of the Grand Prize for short\, non-narrative an imated films in the Holland International Animation Film Festival\, as well as in the animated film festival AnifestInternational 2012. He earned a sp ecial honor from the jury of the Cyprus Countryside Animafest in 2012 and w as selected by the International Animation Festival of Annecy in 2013.

The Beijing Silvermine pro ject paints a positive portrait of a country that is opening up to the worl d. Through the documentary\, sociological: presenting the face of post- soc ialist China\, light-hearted and carefree to the conceptual and poetic prov oking of the tale of rebirth. Each part saviours a newfound freedom\, and n ew access to consumer society. Originating from the collaborations between three different but complementary figures\, this project twists and turns i n its approach to the archived images. It&rsquo\;s a view of the quotidian into which the trio induces the poetry of happiness\, love and joy.

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Hundreds of thousands of images &ndash\; so many moments snapped by strangers are tirelessly salvaged by Thomas Sauvin \, following a meeting in the Northern periphery of the capital city\, with Xiao Ma\, a recycler who collects negatives in order to retrieve the Silve r Nitrate. Sauvin\, a collector\, curator and publisher who has resided in Beijing since 2003 gathers half a million anonymous negatives in 35 mm colo ur\, dating from 1985 to 2005 and ultimately destined for destruction.

Rescuing these snapshots\, not only date the period in wh ich digital photography over took silver photography but also further provi de an authentic portrait of the Chinese capital following the Cultural Revo lution\, at a time of outward-looking reform.

Women p roudly posing in front of their first refrigerator\, children with Ronald M cDonald\, notably family photos often showed only a single child\, (a polic y instituted as of 1979) and adolescents beside portraits of Hollywood star s. Popular imagery symbolized an opening to the world and bears witness to a country in metamorphosis. With Deng Xiaoping in the 1980&rsquo\;s\, China entered into the capitalist era\, and the acquisition of goods was no long er condemned as a &ldquo\;rightist&rdquo\; deviance. At the same time\, lei sure time became institutionalized\, and employees began taking holidays\, travelling and taking advantage of their free time. Chinese subjects pose i n front of monuments\, theme parks and Western masterpieces like of the Mon a Lisa.

A strange homogeneity emanates from the diver sity of the photographs\, which constitute an inestimable archival source a nd inspiration. The framing\, the distance from the subject and the static poses all seem to respond to the same codes. Some might even say that it wa s the work of a single photographer.

Presented on the second floor\, is the debut of Lunar Caustic\, a conceptual colla borative reworking of the archive by British artist Melinda Gibson. Between art and chemistry\, prints are burned with Hydrochloric Acid and coated wi th Silver Nitrate\, isolating the true essence of the imagery\, revealing t he unstable\, palpable\, organic uncontrollable object. Their scientificall y charged intervention gives the already digested images a new existence\, poetically evolving the tale of destructive innovation and leading to ultim ately rebirth. It is down to Gibson&rsquo\;s artistic interventions that it is as if these photographs of yesterday are propelled into today&rsquo\;s world.

Born in 1985\, Melinda Gibson studied Photogra phy at The London College of Communication and is widely regarded for her r e-contextualisation and appropriation techniques that examine the evolution of perspectives in Photography.

Presented upstairs i n the Hô\;tel Winssinger\, the video installation Recycled wa s born from an encounter with the Chinese artist Lei Lei. This stroboscopic animation compiles more than 3000 images from the archive\, connected to o ne another by themes\, places or similar compositions\, and revealing their profound nature in just a few minutes.

Born in 1985\ , Lei Lei studied animated film at the University of Tsinghua. His film Recycled was the 2013 recipient of the Grand Prize for short\, non-na rrative animated films in the Holland International Animation Film Festival \, as well as in the animated film festival AnifestInternational 2012. He e arned a special honor from the jury of the Cyprus Countryside Animafest in 2012 and was selected by the International Animation Festival of Annecy in 2013.

The Beijing Silvermine project paints a positiv e portrait of a country that is opening up to the world. Through the docume ntary\, sociological: presenting the face of post- socialist China\, light- hearted and carefree to the conceptual and poetic provoking of the tale of rebirth. Each part saviours a newfound freedom\, and new access to consumer society. Originating from the collaborations between three different but c omplementary figures\, this project twists and turns in its approach to the archived images. It&rsquo\;s a view of the quotidian into which the trio i nduces the poetry of happiness\, love and joy.

DTEND:20141101 DTSTAMP:20140902T213807 DTSTART:20140920 GEO:50.8310485;4.3486812 LOCATION:Paris-Beijing Gallery - Hotel Winssinger\,66\, rue de l’Hôtel des Monnaies \nBrussels\, 1060 SEQUENCE:0 SUMMARY:Beijing Silvermine\, Thomas Sauvin\, Melinda Gibson\, Lei Lei UID:354161 END:VEVENT BEGIN:VEVENT DTEND:20140920T200000 DTSTAMP:20140902T213807 DTSTART:20140920T180000 GEO:50.8310485;4.3486812 LOCATION:Paris-Beijing Gallery - Hotel Winssinger\,66\, rue de l’Hôtel des Monnaies \nBrussels\, 1060 SEQUENCE:0 SUMMARY:Beijing Silvermine\, Melinda Gibson\, Lei Lei\, Thomas Sauvin UID:354162 END:VEVENT BEGIN:VEVENT DESCRIPTION:

Lauded by international critic s for his films and docu-fictions\, Wang Bing will exclusively present his latest documentary\, Father and Sons\, as well as a series of phot ographs that has never been exhibited before.

For several day s\, Wang Bing filmed and photographed the wretched daily life of Cai\, who left the countryside to work as a stonemason in a factory in the city of Fu ming\, in the province of Yunnan. His two children have joined him and the three of them live in a four square-meter room\, containing only one bed an d an oven. At night\, the father goes to work and leaves the bed to his son s. Wang Bing met the two boys while he was filming Three Sisters.< br />
With his camera over his shoulder\, Wang Bing captures the liv es of men and women on the margins of contemporary Chinese society. He film s their life experiences using long shots and without artifice. The empathy and discretion of his camera are so apparent that the protagonists of the film manage to completely forget that it&rsquo\;s there. Thus\, Bing shows their humanity\, their strengths and their vulnerability without concession .

An observer of profound cultural\, human\, political and eco nomic changes in his country\, Want Bing bears witness with an astonishing realism to the social outcasts of China&rsquo\;s triumphal march. Through t he portrait of these destinies\, he shows the social realities facing the C hinese population. His activist films provide a somber perspective on the i ncreasing seriousness of hardship and inequality in China. The Western valu es of democracy and the welfare state have not penetrated the borders of th e country\, which has allowed individual material and economic interests to run wild.

Though he is a major Chinese filmmaker\, Wang Bing nevertheless films in secret\, and his films are forbidden in China. After the Pompidou Center in Paris\, the Cinematek in Brussels will be dedicatin g a full retrospective to his cinematographic work this autumn.

As a photographer\, Wang Bing began to develop an original artistic direc tion as of the 1980s. Differing from the photographic direction taken in hi s films\, for his photographs he has decided to return to the sites where h e has filmed\, after the fact. Thus\, his photographic series also echo his work as a filmmaker.

Born in 1967 in Shaanxi\, a province in central China\, Wang Bing first studied photography at the Shenyang Academ y of Fine Art before taking classes in cinema at the Film School as of 1985 . Released in 2003\, his first opus\, West of the Tracks (Tie Xi Q u)\, is a monumental feature length film of 551 minutes\, filmed in the nor thern Chinese district of Tiexi. He retraces the lives of workers and their families in an enormous\, declining industrial complex at the turn of the 21st century.

DTEND:20141101 DTSTAMP:20140902T213807 DTSTART:20140920 GEO:50.8310485;4.3486812 LOCATION:Paris-Beijing Gallery - Hotel Winssinger\,66\, rue de l’Hôtel des Monnaies \nBrussels\, 1060 SEQUENCE:0 SUMMARY:Father and Sons\, Wang Bing UID:354157 END:VEVENT BEGIN:VEVENT DTEND:20140920T200000 DTSTAMP:20140902T213807 DTSTART:20140920T180000 GEO:50.8310485;4.3486812 LOCATION:Paris-Beijing Gallery - Hotel Winssinger\,66\, rue de l’Hôtel des Monnaies \nBrussels\, 1060 SEQUENCE:0 SUMMARY:Father and Sons\, Wang Bing UID:354158 END:VEVENT BEGIN:VEVENT DESCRIPTION:

Giovanni \;Anselmo\, \;stanley brouwn\, \;Angela Bulloch\, \;David Claerbout\, \;Franç\;ois Curlet\, \;Ko enraad Dedobbeleer\, \;Jos de Gruyter &\; Harald Thys\, \;Daniel Dewar &\; Gré\;gory Gicquel\, \;Lili Dujourie\, \;Luciano Fabro\, \;Hans-Peter Feldmann\, \;Bernard Frize\, \;Liam Gilli ck\, \;Dan Graham\, \;Carsten Hö\;ller\, \;Ann Veronica Jan ssens\, \;On Kawara\, \;Peter Lemmens\, \;Zoe Leonard\, \;M ark Luyten\, \;Lucy McKenzie\, \;Guy Mees\, \;Marion Mö\;ll er\, \;Matt Mullican\, \;Manfred Pernice\, \;Tobias Rehberger\,  \;Allen Ruppersberg\, \;Joe Scanlan\, \;Lawrence Weiner and&nb sp\;Heimo Zobernig

DTEND:20141004 DTSTAMP:20140902T213807 DTSTART:20140913 GEO:50.8382746;4.3535219 LOCATION:Galerie Micheline Szwajcer\,Rue de la Régence Rue de la Régence - Regentschapsstraat 67\nAntwerp\, 1000 SEQUENCE:0 SUMMARY:Petals on the Wind - Group Show\, Artist of the gallery UID:353925 END:VEVENT BEGIN:VEVENT DTEND:20140912T210000 DTSTAMP:20140902T213807 DTSTART:20140912T180000 GEO:50.8382746;4.3535219 LOCATION:Galerie Micheline Szwajcer\,Rue de la Régence Rue de la Régence - Regentschapsstraat 67\nAntwerp\, 1000 SEQUENCE:0 SUMMARY:Petals on the Wind - Group Show\, Artist of the gallery UID:353926 END:VEVENT BEGIN:VEVENT DESCRIPTION: DTEND:20141108 DTSTAMP:20140902T213807 DTSTART:20140912 GEO:50.8382746;4.3535219 LOCATION:Mon Chéri\,rue de la régence 67 Regentschapsstraat\, 67\nBruxelles \, 1000 SEQUENCE:0 SUMMARY:Floridian Gut\, Dominic Samsworth UID:353261 END:VEVENT BEGIN:VEVENT DTEND:20140912T220000 DTSTAMP:20140902T213807 DTSTART:20140912T180000 GEO:50.8382746;4.3535219 LOCATION:Mon Chéri\,rue de la régence 67 Regentschapsstraat\, 67\nBruxelles \, 1000 SEQUENCE:0 SUMMARY:Floridian Gut\, Dominic Samsworth UID:353262 END:VEVENT BEGIN:VEVENT DESCRIPTION:

Music Palace\, as a call for f reedom that awakens all the promises of the music in the sumptuous setting of the Villa Empain !

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In this e xhibition\, a selection of contemporary work examines the relationship betw een music and cultures through artistic creation. With boldness\, humor and enthusiasm\, these works will rock the Villa Empain becoming a ‘Music Pala ce’ for the occasion.

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Music has this power to transport us\, to have a complete hold over us\, to rid us of our inhibitions\, and play with our bodies\, our minds\, and their rhythms.

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Music also has this strange ability to g alvanize crowds\, and bring people together in an odd communion\, something which has not escaped the notice of the political world of different cultu res and periods.

The history\, phenomenology and sociology of mo dern and contemporary music run parallel with the development of technologi es and their distribution. Radio and television\, with their music stations and channels\, have undoubtedly contributed to the commercialization of mu sic and its standards. But the growth of its diffusion\, production and con sumption\, greatly helped nowadays by digitization\, permits the discovery of artists\, singers and musicians who elude the usual distribution channel s.

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Like a shock wave\, music can thus be imposed on the collective imagination in unexpected ways. The Mahragana t phenomenon\, also called Electro Chaâ\;bi\, offers recent proof of t his. Starting from the working-class suburbs of Cairo\, transmitted by cell phone\, Mahraganat concerts have electrified a whole generation of young p eople who identify with them\, re-invent themselves in them\, and find in t hem an energy which transgresses prohibitions.

“Music is the sup reme mystery of the human sciences\, the one against which they stumble\, a nd which holds the key to their progress”\, said Claude Lé\;vi-Straus s in The Raw and the Cooked in 1964. We might extend this observation to ar tistic creation as a whole\, and note the links and cross-links constructed between these different manners of creation and expression.

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In this show\, a selection of visual works qu estions the relations between music and the culture which convey it\, as we ll as between music and the social phenomena which it introduces and incarn ates. With daring\, wit\, and keen verve\, these works will make the Villa Empain throb !

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Music Palace\, comme un appel à\; la liberté\; qui ré\;veille toutes le s promesses de la musique dans l&lsquo\;é\;crin de la Villa Empain !< br />Dans cette exposition\, une sé\;lection d&lsquo\;oeuvres actuell es interroge les relations entre la musique et les cultures à\; trave rs la cré\;ation artistique. Avec audace\, humour et ferveur\, ces oe uvres feront vibrer la Villa Empain devenue ‘Music Palace&lsquo\; pour la c irconstance.
La musique a ce pouvoir de nous emporter\, de nous saisir entiè\;rement\, de nous dé\;sinhiber\, de jouer avec notre cor ps\, notre esprit et leurs rythmes.

La musique a aussi cette &ea cute\;trange faculté\; de galvaniser les foules\, de les rassembler e n une é\;trange communion\, ce qui n&lsquo\;a pas é\;chapp&eacu te\; au monde politique de diffé\;rentes cultures et é\;poques.

L&lsquo\;histoire\, la phé\;nomé\;nologie et la soc iologie de la musique moderne et contemporaine s&lsquo\;inscrivent en paral lè\;le à\; l&lsquo\;é\;volution des technologies et de le ur distribution. La radio et la té\;lé\;vision\, avec leurs cha î\;nes musicales\, ont certainement contribué\; à\; la com mercialisation de la musique et de ses standards. Mais l&lsquo\;é\;vo lution de sa diffusion\, de sa production et de sa consommation\, aujourd&l squo\;hui largement facilité\;e par le numé\;rique\, permet la dé\;couverte de cré\;ateurs\, chanteurs et musiciens qui &eacut e\;chappent aux canaux de distribution habituels.
Telle une onde de ch oc\, la musique peut ainsi s&lsquo\;imposer dans l&lsquo\;imaginaire collec tif sans qu&lsquo\;on s&lsquo\;y attende. Le phé\;nomè\;ne Mahr aganat\, aussi appelé\; Electro Chaâ\;bi\, en est la preuve r&ea cute\;cente. A partir des banlieues populaires du Caire\, transmis par t&ea cute\;lé\;phone portable les concerts Mahraganat ont é\;lectris é\; toute une jeunesse qui s&lsquo\;y projette\, s&lsquo\;y ré\ ;invente et y puise une é\;nergie qui transgresse les interdits.

«\; La musique est le suprê\;me mystè\;re des scienc es de l&lsquo\;homme\, celui contre lequel elles butent\, et qui garde la c lé\; de leur progrè\;s »\;\, affirmait Claude Lé\;vi -Strauss dans Le Cru et le Cuit en 1964. On pourrait é\;tendre cette ré\;flexion à\; la cré\;ation artistique dans son ensembl e et observer les liens\, les transversalité\;s construites entre ces diffé\;rents modes de cré\;ation et d&lsquo\;expression.

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DTEND:20150208 DTSTAMP:20140902T213807 DTSTART:20140925 GEO:50.8075099;4.3843679 LOCATION:Villa Empain - Boghossian Foundation\,Avenue Franklin Roosevelt 67 \nBrussels\, 1050 SEQUENCE:0 SUMMARY:Music Palace: The Power of Music Seen by Visual Artists\, Adel Abid in\, Fikret Atay\, Chant Avedissian\, Taysir Batniji\, Zoulikha Bouabdellah \, Youssef Chahine\, Natalie Czech\, Folkert de Jong\, Ende Wieder\, Ninar Esber\, Nicolas Fenouillat\, Babak Golkar\, Dan Graham\, Khosrow Hassanzade h\, Gregor Hildebrandt\, Rashid Johnson\, Joachim Koester\, Jim Lambie\, Cl aude Leveque\, Robert Longo\, Arnaud Maguet\, Maha Malluh\, Christian Marcl ay\, Ahmed Mater\, Youssef Nabil\, Joe Namy\, Ivan Navarro\, Shirin Neshat\ , Melik Ohanian\, YAZID OULAB\, Nam June Paik\, Charlemagne Palestine\, Cyp rien Parvex de Collombey\, Hannu Prinz\, Anahita Razmi\, Pipilotti Rist\, A llen Ruppersberg\, Samir Sayegh\, Slavs & Tatars\, Newsha Tavakolian\, Issa Touma\, Joris van de Moortel\, Massimo Vitali\, Haegue Yang UID:353258 END:VEVENT BEGIN:VEVENT DESCRIPTION:

The film Marilyn conjures up M arilyn Monroe through a phantasmagoric sé\;ance in a suite at the Wal dorf Astoria hotel in New York\, where she lived in the 50s.

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It reproduces Monroe&rsquo\;s presence by means of three algorithms: the camera becomes her eyes\, a computer reconstructs the prosody of her voice and a robot recreates her handwriting. The Hollywood icon is carnated in an image that is in fact an automaton\, something resem bling a human\, and yet not quite real.

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In de video Marilyn van Philippe Parreno zien we de wereld door de ogen van Marilyn Monroe\, terwijl ze in haar suite van het Waldorf Astor ia Hotel mijmert en plaatsneemt aan haar schrijftafel. Parreno reconstrueer de de hotelkamer van de filmdiva tot in de kleinste details en liet haar st em en handschrift nabootsen door een speciaal ontworpen robot.

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Over de reden waarom hij de actrice zelf &ndash\; of eventueel een lookalike &ndash\; niet in beeld bracht\, zei hij: &lsquo \;Ik wilde het anders aanpakken. Marilyn ging ten onder als gevolg van de r elatie die ze had met de film en met haar eigen imago. Deze video illustree rt dat.&rsquo\;

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Dans la vid&e acute\;o Marilyn\, Philippe Parreno nous fait voir le monde à\; trave rs les yeux de Marilyn Monroe qui\, perdue dans ses rê\;veries dans sa suite du Waldorf Astoria Hotel\, s&rsquo\;installe à\; son bureau po ur é\;crire. Parreno a reconstitué\; jusque dans les moindres d é\;tails la chambre d&rsquo\;hô\;tel de la star du ciné\;m a et a fait imiter sa voix et son é\;criture par un robot spé\; cialement conç\;u à\; cet effet.

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S&rsquo\;agissant de la raison pour laquelle il n&rsquo\;a pas port é\; à\; l&rsquo\;image l&rsquo\;actrice elle-mê\;me &ndash \; ou é\;ventuellement une doublure &ndash\; il a dé\;clar&eacu te\;: «\; Je souhaitais une autre approche. Marilyn a sombré\; & agrave\; cause du rapport qu&rsquo\;elle avait au ciné\;ma et à \; sa propre image. C&rsquo\;est ce qu&rsquo\;illustre cette vidé\;o. »\;

DTEND:20160130 DTSTAMP:20140902T213807 DTSTART:20140503 GEO:50.847914;4.3410984 LOCATION:Vanhaerents Art Collection\,rue Anneessens\, 29 \nBrussels\, 1000 SEQUENCE:0 SUMMARY:Marilyn\, Philippe Parreno UID:353255 END:VEVENT BEGIN:VEVENT DESCRIPTION:

The Vanhaerents Art Collection is pleased to announce its third exhibiti on\, entitled Man in the Mirror\, which will be open to the public from May 3\,2014 . For this presentation\, the founder and patron of the c ollection &ndash\; the former building contractor Walter Vanhaerents &ndash \; joined forces with Emma Dexter\, who in recent years has curated widely acclaimed shows for ICA and Tate Modern.

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Set to run for a period of thre e years\, the exhibition Man in the Mirror features a selection of over 40 largescale works from the Vanhaerents Art Collection. On display are painti ngs\, sculptures and installations that incorporate mirrors or reflecting m aterials\, as well as artworks that hold a mirror up to the audience\, enco uraging introspection\, critical self-awareness and reflective thought.

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With a nod to the eponymous comedy film from 1936 and Michael Jackson&rsquo \;s famous song\, this thematic exhibition extends over three floors. Combi ning recently created artworks with seminal\, historical exponents of arte povera\, Conceptualism and Neo-Geo\, it covers a wide array of topics such as time and space\, matter and mind\, and individual and collective identit y. Concurrently\, it raises intricate questions about art\, society and the human body.

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Curatoren: Walter Vanhaerents\, Emma Dexter
Assistent curator: Vincent Verb ist

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Begin mei 2014 opent de Vanhaerents Art Collection\, ee n privé\;-initiatief van de voormalige bouwondernemer Walter Vanhaere nts\, zijn derde tentoonstelling\, met als titel Man in the Mirror . Net zoals bij de vorige expositie Sympathy for the Devil\, die hij met B. P.S. 22-directeur Pierre-Olivier Rollin concipieerde\, deed Walter Vanhaere nts voor deze gelegenheid een beroep op een curator van buitenaf. Samen met Emma Dexter\, die de afgelopen jaren belangrijke tentoonstellingen verzorg de in opdracht van ICA en Tate Modern\, maakte hij een selectie uit zijn om vangrijke collectie hedendaagse kunst.

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De groepsexpositie Man in the Mir ror\, die over een periode van drie jaar zal lopen\, omvat 45 monumentale w erken van internationaal gereputeerde kunstenaars. De keuze viel niet allee n op schilderijen\, sculpturen en installaties die gebruikmaken van spiegel s of reflecterende materialen\, maar ook op werken die de toeschouwer een s piegel voorhouden en aanzetten tot reflectie\, zelfbewustzijn of introspect ie.

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Met een knipoog naar de gelijknamige Britse filmkomedie uit 1936 en de bekende song van Michael Jackson strekt deze thematentoonstelling zich u it over drie verdiepingen. Het parcours loopt langs historische en canoniek e werken uit de arte povera\, de conceptuele kunst en neo-geo\, maar houdt ook halt bij recente creaties in diverse disciplines. Op een associatieve m anier legt de tentoonstelling kruiselingse verbanden tussen individuele art istieke praktijken. Het primaire thema van Man in the Mirror wordt zo in ve rschillende richtingen uitgewerkt\, in relatie tot begrippen als tijd\, rui mte\, individuele en collectieve identiteit\, materie en spiritualiteit. Vr agen over kunst en maatschappij\, het lichaam en de werkelijkheid worden in dezelfde beweging aangesneden.
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Curatoren: Wal ter Vanhaerents\, Emma Dexter
Assistent curator: Vincent Verbist

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Dé\;but mai 2014 \, la Vanhaerents Art Collection &ndash\; initiative privé\; e de l&rsquo\;ancien entrepreneur Walter Vanhaerents &ndash\; inaugurera sa troisiè\;me exposition intitulé\;e Man in the Mirror. Tout comme la pré\;cé\;dente exposition Sympathy for the Devil \, conç\;ue avec Pierre-Olivier Rollin\, directeur de B.P.S. 22\, Wal ter Vanhaerents a fait appel pour l&rsquo\;occasion à\; un commissair e exté\;rieur. En collaboration avec Emma Dexter\, qui a organis&eacu te\; ces derniè\;res anné\;es d&rsquo\;importantes expositions pour la ICA et Tate Modern\, il a opé\;ré\; une sé\;lecti on dans sa riche collection d&rsquo\;art contemporain.

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L&rsquo\;expositi on de groupe Man in the Mirror\, qui s&rsquo\;é\;tendra sur une p&eac ute\;riode de trois ans\, se compose de 45 oeuvres monumentales d&rsquo\;ar tistes d&rsquo\;envergure internationale. Au-delà\; de tableaux\, scu lptures et installations utilisant des miroirs ou des maté\;riaux r&e acute\;flé\;chissants\, le choix s&rsquo\;est é\;galement port& eacute\; sur des oeuvres qui tendent un miroir au spectateur et l&rsquo\;in citent à\; la ré\;flexion\, à\; la prise de conscience et à\; l&rsquo\;introspection.

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Faisant au passage un clin d&rsquo\;o eil à\; la comé\;die britannique du mê\;me nom sortie au c iné\;ma en 1936 ainsi qu&rsquo\;à\; la cé\;lè\;bre chanson de Michael Jackson\, cette exposition thé\;matique s&rsquo\;& eacute\;tend sur trois niveaux. Le parcours emmè\;nera le public &agr ave\; la dé\;couverte d&rsquo\;oeuvres historiques et canoniques de l &rsquo\;arte povera\, passera par l&rsquo\;art conceptuel et le né\;o -gé\;o\, et se penchera é\;galement sur des cré\;ations r é\;centes dans diffé\;rentes disciplines. Par associations\, l& rsquo\;exposition tisse des liens croisé\;s entre les diffé\;re ntes pratiques artistiques. Le thè\;me primaire de Man in the Mirror est donc traité\; selon plusieurs approches\, en lien avec des concep ts tels que le temps\, l&rsquo\;espace\, l&rsquo\;identité\; individu elle et collective\, la matiè\;re et la spiritualité\;. Des que stions relatives à\; l&rsquo\;art et la socié\;té\;\, ou encore le corps et la ré\;alité\;\, sont abordé\;es dans un mê\;me mouvement.

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Curatoren: Walter Vanhaerents\, Emma Dexte r
Assistent curator: Vincent Verbist

DTEND:20171030 DTSTAMP:20140902T213807 DTSTART:20140503 GEO:50.847914;4.3410984 LOCATION:Vanhaerents Art Collection\,rue Anneessens\, 29 \nBrussels\, 1000 SEQUENCE:0 SUMMARY:Man in the Mirror\, TJ Norris\, Ivan Navarro\, Dave Muller\, Haroon Mirza\, Meuser\, Glenn Ligon\, Joseph Kosuth\, Rashid Johnson\, Alex Hubba rd\, Gregor Hildebrandt\, Mark Handforth\, Peter Halley\, Peter Friedl\, Te resita Fernández\, Elmgreen & Dragset\, Michael Delucia\, Jan De Cock\, Jam es Lee Byars\, Matthew Barney\, David Altmejd\, Franz Ackermann\, Darren Al mond\, Jorge Pardo\, Philippe Parreno\, Michelangelo Pistoletto\, Ugo Rondi none\, Isaac Julien\, Tomas Saraceno\, Ryan Sullivan\, Bill Viola\, Cosima von Bonin\, Cerith Wyn Evans\, Haegue Yang\, Sterling Ruby\, Thomas Ruff UID:353251 END:VEVENT BEGIN:VEVENT DESCRIPTION:

Bruce High Quality Foundation is a New York based collective founded in 2001 by \;alumni from Cooper Union. Concurrently with the opening of their show &lsquo\;Vive la sociale! &rsquo\; \;at Almine Rech gallery in Brussels\, the talk will deal with several underlying topics \;including the Bruce High Quality Universit y and the influential Belgian painter James \;Ensor.

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The Bruce High Quality Foundation is an arts collective in Brooklyn\, New York City\, the United States\, which was "created to fo ster an alternative to everything." The collective is made up of five to ei ght rotating and anonymous members\, most or all of whom are Cooper Union g raduates. The group has attracted attention with the subversive\, humorous and erudite style of their work and operates an unaccredited art school\, t he Bruce High Quality Foundation University.

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More info:

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h ttp://www.thebrucehighqualityfoundation.com/

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http://www.alminerech.com/

DTEND:20140912T190000 DTSTAMP:20140902T213807 DTSTART:20140912T180000 GEO:50.8408948;4.3384628 LOCATION:NICC\,rue Lambert Crickx 1 \nBrussels\, 1070 SEQUENCE:0 SUMMARY:Bruce High Quality Foundation: Artist Talk UID:353248 END:VEVENT BEGIN:VEVENT DESCRIPTION:

Daniel Dewar will speak\, as o ne half of the artist duo Dewar &\; Gicquel\, about their current show a t Musé\;e Rodin titled &lsquo\;La Jeune Sculpture&rsquo\;\, their vie ws on ceramics and other ongoing projects. Dewar &\; Gicquel have been w orking together since 1997 and were awarded the Prix Marcel Duchamp in 2012 . Their work will also be on show at Galerie Micheline Szwajcer (Brussels) in October of this year.

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Daniel Dewar (b. 1976 in the UK) lives and works in Brussels. Gregory Gicquel (b.1975 i n \;France) lives and works in Paris. Recent solo shows include "Le Hal l\," Espace 315\, \;Centre Pompidou\, Paris\; "Jus d'orange\," Palais d e Tokyo\, Paris\; "Mr I / Dewar &\; Gicquel\," \;Graff Mourgue d'Alg ue\, Geneva\; "Crê\;pe Suzette\," Spike Island\, Bristol. Group exhibi tions \;include "Labour and Wait\," Santa Barbara Museum of Art\, Calif ornia\; "Conjuring for \;Beginners"\, Project Arts Centre\, Dublin\; "M aking is Thinking"\, Witte de With\, Center for \;contemporary Art\, Ro tterdam\; "Unto This Last"\, Raven Row\, London\, UK.

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More info:\n

http://www.musee­\;ro din.fr/en/

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http://www.gms.be

DTEND:20140912T203000 DTSTAMP:20140902T213807 DTSTART:20140912T193000 GEO:50.8408948;4.3384628 LOCATION:NICC\,rue Lambert Crickx 1 \nBrussels\, 1070 SEQUENCE:0 SUMMARY:Daniel Dewar & Grégory Gicquel: Artist Talk\, Daniel Dewar UID:353245 END:VEVENT BEGIN:VEVENT DESCRIPTION:

For the start of the new season and during the Brussels Art Days\, NICC will feature a brand new project in the NICC vitrine.

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&lsquo\;Let the Ar tists Die (If They Want To)&rsquo\; is the provocative title of the concept ual project developed by Triple Candie for the NICC vitrine. Triple Candie is founded by art historians Shelly Bancroft and Peter Nesbett in 2001\, an d describes itself as an independent curatorial agency exploring the critic al potential of exhibition making.

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Its primary purpose since late 2005 h as been to explore the possibilities of exhibition­\;making as a truly a lternative\, critical practice. From 2001 to 2010\, Triple Candie operated a series of galleries in Harlem. Since 2011\, it has been guest­\;curati ng exhibitions for organizations in the United States and Europe.

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http://www.triplecandie.or g/

DTEND:20141116 DTSTAMP:20140902T213807 DTSTART:20140913 GEO:50.8408948;4.3384628 LOCATION:NICC\,rue Lambert Crickx 1 \nBrussels\, 1070 SEQUENCE:0 SUMMARY:Triple Candie UID:353241 END:VEVENT BEGIN:VEVENT DTEND:20140913T210000 DTSTAMP:20140902T213807 DTSTART:20140913T180000 GEO:50.8408948;4.3384628 LOCATION:NICC\,rue Lambert Crickx 1 \nBrussels\, 1070 SEQUENCE:0 SUMMARY:Triple Candie UID:353242 END:VEVENT BEGIN:VEVENT DESCRIPTION:
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An installation at the crossroads of sculpture\, mappi ng and animation film. Antonin De Bemels transforms a wood sculpture into a living dummy\, that tries desperately to find out whether it is human or n ot. It misses a lot of important body parts\, like legs\, arms\, eyes\, mou th... but wonders if all these human attributes are really necessary to be human. How can an inanimate object become a living thing? The installation shows the existential quest of a nonexistent being\, and is at the same tim e a reflection on our own existential drift. \;

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Autoscopy was defined by Critchley (1950) as "delusional dislocation of the bo dy image into the visual sphere" and by Lukianowicz (1958) as "a complex ps ychosensorial hallucinatory perception of one's own body image projected in to the external visual space". Both these imply that the self remains assoc iated with the physical body and that a duplicate body is seen at a distanc e. (Susan Blackmore\, Ph.D.) \;

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Dummy 1) a figure r epresenting the human form\, used for displaying clothes\, in a ventriloqui st's act\, as a target\, etc. 2) a copy or imitation of an object\, often l acking some essential feature of the original. \;

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Trailer of the installation

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About  \;Antonin De Bemels \;
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Antonin De Bemels was born in Brussels in 1975. Since 1997 he directed several experimental videos which were pres ented at various international festivals\, mainly in Europe but also in the United States\, Canada\, Asia\, South America and Australia. He also makes audiovisual performances\, and creates audiovisual backgrounds for contemp orary dance and theatre shows. His music and sound research is carried out under the pseudonym of Petite Porte de Bronze. Since 2002 he has been devel oping video installation projects. He collaborates on a regular basis with the entity known as Bonhomme Daniel.

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More info \;on  \;www.werktank.org

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< span style="font-size: small\;">Une installation au croisement entre sculpt ure\, mapping et film \;d'animation. Antonin De Bemels transforme une s culpture en papier-mâ\;ché\; en \;un mannequin vivant qui te nterait dé\;sespé\;ré\;ment de dé\;terminer sa poss ible \;humanité\;. Il lui manque un tas d'é\;lé\;ment s importants\, comme les jambes\,
les bras\, les yeux\, la bouche... mais il se demande si tous ces attri buts \;sont vraiment né\;cessaires pour ê\;tre humain. Comme nt un objet inanimé\; \;peut-il prendre vie? L'installation met e n scè\;ne la quê\;te existentialiste \;d'un ê\;tre non- existant\, et est en mê\;me temps un reflet de notre propre \;d&ea cute\;rive existentielle.

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Autoscopy was defined by Crit chley (1950) as "delusional dislocation of the body image into the visual s phere" and by Lukianowicz (1958) as "a complex psychosensorial hallucinator y perception of one's own body image projected into the external visual spa ce". Both these imply that the self remains associated with the physical bo dy and that a duplicate body is seen at a distance. (Susan Blackmore\, Ph.D .) \;

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Dummy 1) a figure representing the human form \, used for displaying clothes\, in a ventriloquist's act\, as a target\, e tc. 2) a copy or imitation of an object\, often lacking some essential feat ure of the original. \;

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Trailer de l'installation

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À\; propos de Antonin De Be mels \; \;
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Antonin De Bemels naî\;t en 1975 à\; Brux elles. Il a ré\;alisé\; à\; ce jour une \;quinzaine d e courts-mé\;trages expé\;rimentaux\, montré\;s dans de n ombreux \;festivals internationaux\, principalement en Europe mais auss i aux \;Etats-Unis\, au Canada\, en Amé\;rique du Sud\, en Asie e t en Australie. Il \;dé\;veloppe aussi des installations vid&eacu te\;os et des performances \;audiovisuelles\, et collabore ré\;gu liè\;rement avec des metteurs en scè\;ne et \;choré\; graphes en tant que vidé\;aste et cré\;ateur sonore. Depuis que lques \;anné\;es\, il dé\;veloppe l'univers de son personna ge et alter ego Bonhomme \;Daniel à\; travers des vidé\;os\ , des installations\, des dessins\, des \;sculptures\, etc.

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Plus d'informations: \;www.werktank.org

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Een installati e op de grens van beeldhouwkunst\,mapping en animatiefilm. Een papier-mach& eacute\; sculptuur wordt door projecties in een levende dummy getransformee rd. De dummy probeert wanhopig uit te zoeken of hij menselijk is of niet: h ij mist dan ook een aantal belangrijke lichaamsdelen zoals benen\, armen\, ogen\, mond.... En vraagt zich af of deze menselijke attributen eigenlijk e cht wel nodig zijn om mens te zijn? Hoe kan een onbezield object een levend wezen worden? De installatie toont een existentië\;le zoektocht van ee n niet bestaand wezen en is tevens een reflectie op onze eigen existenti&eu ml\;le drift.

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Autoscopy
Autoscopy was def ined by Critchley (1950) as "delusional dislocation of the body image into the visual sphere" and by Lukianowicz (1958) as "a complex psychosensorial hallucinatory perception of one's own body image projected into the externa l visual space". Both these imply that the self remains associated with the physical body and that a duplicate body is seen at a distance.

(Susan Blackmore\, Ph.D.)

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Dumm y
1) a figure representing the human form\, used for displaying clothes\, in a ventriloquist's act\, as a target\, etc.
< br />2) a copy or imitation of an object\, often lacking some essential feature of the original

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Trailer \;van de installatie

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Over Antonin De Bemels \;
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Antonin De Bemels (1975) regisseerde sind s 1997 een aantal experimentele video's die werden getoond op verschillende internationale festivals\, voornamelijk in Europa maar ook in de Verenigde Staten\, Canada\, Azië\;\, Zuid-Amerika en Australia. Hij maakte ook e en aantal audiovisuele performances en creë\;erde audiovisuele achtergr onden voor hedendaagse dans- en theaterstukken. Zijn muziek- en geluidsonde rzoek is uitgebracht onder het pseudoniem Petite Porte de Bronze. Sinds 200 2 ontwikkelt hij videoinstallatieprojecten. Hij werkt op een reguliere basi s samen met de entiteit gekend als Bonhomme Daniel.

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Meer info: \;www.werktan k.org

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DTEND:20140915 DTSTAMP:20140902T213807 DTSTART:20140701 GEO:50.8547559;4.3420642 LOCATION:iMAL\, Center for Digital Cultures and Technology\,30-34 Quai des Charbonnages \nBrussels\, B-1080 SEQUENCE:0 SUMMARY:Autoscopy for Dummies\, Antonin De Bemels UID:353240 END:VEVENT END:VCALENDAR