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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