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<strong>The</strong> next few weeks’<br />

agenda fi llers<br />

Belgium,<br />

Eye Candy Rocks<br />

This exhibition seems to have<br />

been curated simply to have us<br />

rave-on about it throughout the<br />

months to come. Put simply,<br />

Bozar’s summer showc<strong>as</strong>e<br />

highlights the visual artwork<br />

of some 20 international rockers<br />

- and rockerettes! - bringing<br />

them together in a cacophony<br />

of styles sure to ple<strong>as</strong>e the most<br />

demanding of t<strong>as</strong>temakers out<br />

there. Drawing on the works of<br />

everyone from grandees Patti<br />

Smith, Yoko Ono and Lou Reed<br />

to more contemporary names<br />

<strong>as</strong> Pete Doherty, <strong>The</strong> Kills and<br />

offi ce favorite Miss Kittin, the<br />

exhibition promises to reveal a<br />

lesser-known facet to these musicians’<br />

creative streaks. With<br />

another month to come before<br />

the exhibition’s opening, we can<br />

only hope it will be one of those<br />

“artists will be present” kind of<br />

openings.<br />

It’s Not Only Rock ‘N’ Roll,<br />

Baby<br />

From 17 th June<br />

until 14 th September 2008<br />

☞ BOZAR, Brussels<br />

www.bozar.be<br />

Under the Skin<br />

Moving away from his earlier<br />

work focusing on the anatomy<br />

of the human body, Maurice<br />

Frydman’s more recent work<br />

attempts to make sense of his<br />

Holocaust experience – or more<br />

specifi cally his non-experience<br />

- of the sad event. Indeed, a<br />

great many Jews who managed<br />

to escape the horrors of the<br />

Holocaust apparently endured<br />

considerable diffi culties in<br />

coming to terms with their<br />

luck, for want of a better word.<br />

This, in Frydman’s c<strong>as</strong>e, w<strong>as</strong><br />

the beginning of a long and<br />

strenuous artistic expression<br />

of his oppressive memories,<br />

creating vulnerable silhouettes<br />

with seemingly fragile frames.<br />

Although sometimes diffi cult<br />

to stomach, the bareness and<br />

rawness of Frydman’s work had<br />

us all looking deep down inside<br />

ourselves.<br />

À Fleur de Peau<br />

Until 22 nd June 2008<br />

☞ Jewish Museum of Belgium,<br />

Brussels<br />

www.museejuif.be<br />

Graphic Resistance<br />

A revolution needs a fair dose<br />

of timely propaganda and<br />

promotional creativity to make<br />

itself noticed, and May 68ers <strong>as</strong><br />

they are known had picked up<br />

on this fact long-before the fi rst<br />

street protests began. Drawing<br />

on collector Eric Kawan’s extensive<br />

collection, the exhibition<br />

re-traces the political poster’s<br />

history and its role in furthering<br />

political messages through the<br />

powerful tool of clever imagery<br />

and font use. <strong>The</strong> exhibition<br />

coinciding with a call for ex-68ers<br />

to hand-in their creations,<br />

this one is sure to revive old<br />

memories of long-forgotten, leftleaning<br />

ideals and principles.<br />

MAI Oui!<br />

Until 17 th August 2008<br />

☞ Le Centre de la Gravure,<br />

Brussels<br />

www.centredelagravure.be<br />

<strong>The</strong> in-betweeners<br />

Brussels Jazz Marathon on weekend of 23rd May 2008<br />

Jazz jamboree which overtakes the whole city with its mix of<br />

internationally-renowned musicians and lesser-known acts<br />

<br />

<br />

<br />

the diary<br />

© Atelier populaire d’Amiens © Musée juif de Belgique<br />

© Miss Kittin<br />

THE THIRD WORD — 15

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