July 16 > September 12
Opening only on registration :
Thursday July 9 : 6:00 > 22:00
Friday July 10 : 6:00> 22:00
Margaret Lansink "Borders of nothingness"
In the infinite flow of everything, people come and go in our lives. While the presence of some can be so subtle that we hardly register when it begins or ends, with others it’s far clearer: they enter, or leave, with a bang.
In this series of black and white images, Dutch photographer Margaret Lansink (b. 1961) dwells in the emotional state of transition between knowing and not knowing another person.In reaction to her daughter’s decision to suspend contact with her, Lansink uses the camera to feel out the sense of severing a connection. She photographs landscapes and nude women, often rendered mysterious or unreadable, seemingly asking: is this the moment you were gone? Borders of Nothingness raises heavy questions regarding the presence and absence of others in our lives, engaging with our sense of loss as well as the everyday miracle of making the acquaintance of another.
(Katherine Oktober Matthews Feb.2018).
Margaret Lansink is a fine art photographer who graduated PhotoAcademy Amsterdam in 2012. She studied in 2016 at LeMasterklass Paris and in 2019-2020 at the Masterclass of Smedsby Atelier, also in Paris. The works of Margaret have been awarded with Hariban Award 2019 and her work is selected for Head On 2020 and Haute Photographie 2020 Rotterdam. She participates in exhibitions, residencies and competitions in Holland and abroad. Her work has been shown in Amsterdam, Rotterdam, Leiden, Den Helder, Antwerp, Arles, UK, New York, Vancouver, Japan, Tbilisi, Kaunas and Barcelona.
In 2016 Margaret and her partner Rene van Hulst have been rewarded with an AIR with the Kaunas Gallery in Lithuania (november 2016) and with Shiro Oni Studio in Japan (august 2017); both for their project ‘the Kindness of One’. She has published 4 books and two more books will be launched in 2020. Margaret is member of FemmesPHOTOgraphes Paris and member/founder of iwi_collective. Additionally, she often coaches young photographers in developing their signature and portfolio.
Christopher de Béthune "ORION"
Orion is a memory of a ghost relationship, a personal experience of light and shadow, black, with and innumerable shades of grey. The subjects and words of the author are lost in time, a devouring passion, suffering and the inspiration one can source from these emotional states. A remembrance to which Orion’s belt is it’s cold guardian.
Christopher de Béthune is a Belgian photographer whose images and landscapes in black and white are witnesses of sadness, comfort and nostalgia.
Veiled in a dark romanticism, his work has been described at once impulsive and other times prudent but always with notes of melancholia and solitude, inviting the viewer to travel and abandon.
Japanese cinema has a big influence on the artist's work.
YOUNG TALENT : Robin Nissen "Chrysalide"
Robin Nissen, student at École Supérieure Arts Saint-Luc Liège, joins Margaret Lansink and Christopher de Béthune, at l'enfant sauvage's next exhibition with a series titled 'Chrysalide'. A very intimate collection of images treating the acceptance of the body, of self and revealing a difficult episode in the life of the young artist.
"It was a morning in a month that I dont remember. I was talking to friends on the school grounds and all of a sudden, looking over my shoulder, I caught the gaze of a boy. In a fraction of a second, his looking at me changed my life. For years following this event I became very introvert. I was afraid to talk about my feelings in fear of being judged. I was afraid of having fallen in love with that boy. Yes, I was afraid and yes, I know it's stupid. I never saw him again apart from one or two fleeting instances. From that illustrious day on, his face was engraved in my memory. I was, like a horse, branded.
This series of images evoke a painful part of my life."
July 10 > December 20
Opening > Thursday July 09 - 18:30
Etienne Panier lives and works in Brussels. He has been working the linoleum frenetically for ten years now. His style is marked by comic art. Inspired by Japanese printmaking he sources his inspiration in asian folklore and creates scènes populated by monsters in a joyful and mysterious atmosphere. He creates a universe dominated by black and white. In 2019 Panier realizes his first solo exhibition at Calaveras gallery wherein he presents the Mostrorum Catalogo, a funny compendium of a hundred monsters whose faces and the maxims that accompany them aim to create laughter or at least draw a smile from the spectator.
A professional graphic artist, illustrator, engraver and photographer, Mathieu Van Assche lives and works in Brussels. A creative millipede, curious by nature and slave to the image, he sources his inspiration from the effervescence of popular neighborhoods, sacred imagery, use of the mask in pagan traditions and comic art.
Naturally and (un)consciously he takes a devilish pleasure in creating confusion by mixing styles, references and various techniques, finally creating a very personal universe. He blows life into a dented world, populated by monsters, fantastic beasts, sometimes soft and funny, sometimes unsettling and scary.
Noemie Béchu is an multidisciplinary artists based in Brussels. Passioned by the art of printing she opened up her artisanal screen printing atelier in Saint Gilles in 2017. This creative space is destined for experimentation and research enables her to invite and help other creatives to realize their projects. She finds her inspiration in the organic and natural world, femininity and bloom and human relationships. Her drawings, illustrations, poster art, jewelry, textiles and other creations address different subjects, always marked by a positif and generous spirit.
Abi Coeffier : "Freshman student in photography at ESA 75, photography has always played an important role in my life. As a kid I always carried around a disposable camera during vacations and at about 16 years old I got my first digital reflex camera. From that point on I started collecting cameras and my interest steered towards analogue photography. During the confinement I started to make self portraits with this technique. Being alone in my apartment, for the most part cut off from the outside world, I decided to deconstruct the body using objects surrounding me in daily life. Thus I created still lifes using the sunlight entering through my windows"
Emilie Maricq : Belgian student in her third year visual communication and graphic arts at ENSAV La Cambre, photography is my preferred medium for self expression. I've been using analogue technique for a number of years now but only recently I've started to create my own universe. During this peculiar time of confinement, sitting and waiting are our main activities, we are stuck in a decor, becoming part of it. The creation of images has become my escape, the decor changes and tells stories."
Bastien Communi : "My interest in photography started quite young. This medium has accompanied me for many years and continues to evolve in my eyes. Photography, for me, is a way of existing and of existing in the wanted world. It is also a powerful means of expression and communication. I consider my photographic work as a sensitive collection through which oneirism wanders from image to image. "
14.01.21 > 13.03.21
1010 is a joint photographic project, a performance shared between 10 photographers who have taken on the challenge of each providing 10 images of a locality. For this third opus, the choice fell on the Belgian Ardennes. In the end, these 100 photographs try to offer an image of this place, a subjective view, 10 free looks that only form one. Photographs by: Marie Sordat, Sarah Lowie, Christopher de Béthune Tombouctou Manu, Max Lemmens, Renée Lorie, Pauline Caplet, Thomas Marchal, Mathieu Van Assche, Simon Vansteenwinckel.
+ YOUNG TALENT: Tom Lyon & Pauline Vanden Neste
“We came here for the view”
In 2019, work on the CityDocks project led by Atenor began, in the immediate vicinity of the Biestebroeck basin in the south of Anderlecht. Opposite, on the other side of the Brussels canal, the Aurore district, a succession of 7 buildings built in the 1960s, is witnessing the real estate upheavals that will transform the surroundings. 200 housing units should be built in order to revitalize this former industrial zone in decline, a transformation strategy that fits more broadly into the Canal Plan. The canal area is one of the biggest urban planning challenges for the Brussels of tomorrow, which is trying to respond to the “demographic boom” to come. These private projects are not unanimous, however, given the lack of social housing and the gradual disappearance of industrial activities in Biestebroeck. One thing is certain: the Aurore district will also have to change radically in the coming years. In the meantime, the daily takes its course. Several waves of immigration have over time made the place heterogeneous. Above all, we meet special lives, suspended moments, solitudes, a certain beauty. Tom Lyon & Pauline Vanden Neste
March 18 > April 26
Interview Lokal Fototek Foundation par Fruit Radio
The Lokal Fototek Foundation
On the occasion of the exhibition at L’Enfant Sauvage, The Lokal Fototek Foundation will publish two publications based on two collections from Brussels archives - the Frimousse space catalog and the personal albums of the Cocozza family. They invited artists Kenneth Mottar and Nick Defour to intervene on these series of images and produce a publication.
The Lokal Fototek Foundation has composed a list of nine rules to be followed, which form a dogma for the manufacture of the publications :
The artist will work with images printed on smooth or tan tactile paper.
The Lokal Fototek Foundation team will print the photos, undistorted and in orginal format.
It is not requiered for the publication to be specifically readable or follow an understandable narrative. She will live her life or another life.
The photographic image will not be considered as an item of value. It will therefore not be divine but it will be allowed to show it sweetness and love.
The format of the edition will be different each time and / or will be produced in a variety of different materials.
The budget for each edition will be set at € 1,000, including the artist's sub, taking into account the index or middle finger.
The artist will receive a watch and will have a maximum of one month to submit a proposal.
The publication will be free of any trademark or tattoo. A chocolate pouch will envelop the publication and indicate its origin.
Archives and authors must never have been to a restaurant together
"The Lokal Fototek Foundation" is a project launched by two Brussels artists Kasper Demeulemeester and Vincen Beeckman, alias Franky and Johnny Heyvaert. THE LOKAL FOTOTEK FOUNDATION is a project dedicated to local photography, in all its forms. The Foundation is a physical space in the Heyvaert District, in Brussels, and radiates from there to the rest of the city and beyond. It is a place where photographic collaborations with the people of the neighborhood can emerge, from new images (which can be made in the Fototek itself, in people's homes, or in the street) or by collecting their old photographs, by archiving and reproducing them. Fototek actively collects and archives these images and opens its collection to the public. In addition to this, you need to know more about it. The Lokal Fototek Foundation does not want to keep but to share. Regularly, exhibitions take place, publications are also edited to present the growing collection to the public. THE LFF is a totally free project, the only richness it envisages is the iconographic richness hidden under the surface of Brussels. Everyone is absolutely invited to cooperate with the Foundation, anything is possible if it corresponds to the principles of the Foundation. The Lokal Fototek Foundation has an office in Circularium, on the Bergensesteenweg in Anderlecht, but you will rarely see Franky or Johnny in the office, their working grounds are the streets of the neighborhood, where they write everything they see, where they build car memorials, where they stick photographs of miniature cars on doors and walls. Maybe you will see them working with plasticine, maybe you will find them at the tavern Le Cadre sprl drinking pure ginger juice, walking through the streets of Liverpool and Heyvaert. The LLF also organizes meals where the guests discuss their photographs. These so-called “Dinner with Franky and Johnny” give rise to the creation of posters which take excerpts from the guests' reflections and spread their reflections in the neighborhood and beyond. All the publications of the LLF could unite under the name of Manifeste de la Photographie. The first edition, Manifeste de la Photographie Dînatoire, was written by Sandra de Viviès, based on the words spoken by the guests of the first Dinner with Franky and Johnny.
06 Mai > 17 Juillet 2021
Vernissage Jeudi 06 Mai 17h > 21h
«Half Light» est le fruit de rencontres à cœur ouvert entre Loïc et les personnes avec lesquelles il se rapporte dans sa «vraie» vie. Il n'y a pas de prétention d'artiste. Ni aucun besoin voyeuriste de représenter des gens hors de leur univers. Sa photographie est authentique, directe, simple. Pas de gadgets.
«Ces photographies ont été prises à Paris pendant une période de deuil. Je sentais que je devais regarder les gens face à moi. Sans masque social. Les premières images ont souvent été prises au pied d’un mur. Puis des liens simples se sont créés, aboutissant pour certains à des prises de vue dans leurs appartements. J'ai voulu saisir l’intime : les marques, les cicatrices, les ventres, les dos, les moments d'absence, les lignes fixes. Ce qui fait leur identité et leur courage à tenir debout." - Loïc Seguin
La façon dont Seguin dévoile les gens de Belleville et de la Place des Fêtes est unique. Cela n'aurait pu être fait que par un initié. C'est sa force: simplicité et simplicité. Les portraits sans prétention déclenchent notre curiosité - Qui sont ces gens? D'où viennent-ils? Comment ont-ils laissé le photographe approcher d'aussi près? C'est intime? L'obsession. La pratique rigoureuse et constante. La haute qualité stable de ses images, malgré la quantité élevée.
Ce sont les références que Seguin présente sur son premier livre, qui est publié par Void.
"Résistance heureuse prend racine dans une volonté de faire reconnaître la club culture comme le point de convergence, le point de symbiose de nos aspirations socio-culturelles. Cette expérience hors code génère de nouvelles perspectives d’effervescence social pouvant devenir la source d’une nouvelle créativité collective. Nous avons beaucoup à apprendre de la désorganisation. C’est une culture qui permet à la collectivité de prendre le pas sur une individualisation toujours grandissante, notamment grâce à ses valeurs inclusives. Tout le monde est amené à participer à cet engagement sensuel pour créer des moments de libertés hors du temps.
Après avoir réalisé l’importance du pouvoir cognitif de la connexion émotionnel d’une foule, mon intérêt pour mon propre travail est tombé à zéro, mon monde sensible était désorienté car je n’avais jamais vécu quelque chose d’aussi puissant. Je n’ai pas touché mon appareil photo pendant les quatre mois qui ont suivi. Il faut comprendre que cette expérience ne peut se transmettre visuellement, elle doit être vécue et cela à fait naître une énorme frustration créative dans ma pratique personnelle.
Peu de temps après, j’ai commencé à organiser des soirées avec mon collectif CHANOIRS. C’était très instinctifs, c’est seulement maintenant, avec la prise de recul, qu’il m’apparait clair que ces deux événements sont liés, une volonté de sortir du médium artistique pour proposer des expériences vivantes et alternatives. Réconcilier l’art avec l’existence à travers la collectivité.
Après avoir renouer avec mon appareil photo, j’ai commencé à photographier avec pour objectif de collecter ces célébrations.
L’archivage de tous ces moments dressent la force vivante du souvenir et du passé, observer de manière tangible la route déjà parcourue, être porteur de notre propre mémoire, rendant supportable le défilement des années et suggérant que le vrai noyau de l’existence se trouve dans notre capacité a tailler un chemin qui nous est propre entouré des gens que l’on aime.
Résistance heureuse est un remerciement à toutes ces rencontres d’une soirée, toutes ces discussions enivrées, tous ces personnages surréalistes qui m’entourent au jour le jour, merci à tous les acteurs de la scène bruxelloise qui œuvrent à rendre notre nuit si dynamique, on se retrouvera tous bientôt." Antoine Grenez