Salad Days April 2020
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www.subbacultcha.be/artcard
DEMOCRAZY
FENG SUAVE
DO 28.05 - DE CENTRALE
GABBER MODUS OPERANDI
DO 28.05 - CHARLATAN TICKETS & INFO
DEMOCRAZY.BE
intro
Salad Days
It’s here. The greenery is resurfacing and earthy bonds are slowly restored from the setting sludge of mud, snow and whatever we did or didn’t get – signifiers of blooming potentials. The new grass that grows does seem greener the moment you step on it, sit on it, take it from the ground or put it on your plate. The point is to be part of it, of these brighter days that toss you around with newly regained energy drawn from the fresh varieties of lettuce that keep faces young and steps sprightly. Though who knows: this year might be slightly forsaken. Stay crisp, though: at worst, try another year. Who cares about acting your age?
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content
Willy Organ 9 - 15 Good Morning 16 - 23 Karel 24 - 31 Elisa Liepsch 32 - 41 Bram Vanderbeke 42 - 49 style 50 - 53 recent finds 55 - 59 we visit you 60 - 61
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The agenda pages have been removed in this magazine, please check our website for up-to-date information about the shows.
KILUANJI KIA HENDA 21.02.20 28.06.20
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Mare Nostrum (Black Birds), detail, 2019 © Kiluanji Kia Henda
music
Willy Organ UFO, weirdo, genius‌ call him what you want, the frontman of the Tubs, Willy Organ, is not going to leave you speechless. The purpose of his side project is simple and clear: create a pop song that can make you dance and think. The man is to be consumed with the whole package; lyrics questioning his life existence over disco-inspired songs and insane videos. The Billy Corgan lookalike has well understood the modern habits of art consumption and has transformed himself into a machine giving birth to new work at a restless pace, satisfying the thirst of the minions of the web. In the midst of his busy schedule, Simon, aka Willy Organ, managed to give us a share of his time for a tight and subtle chat.
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Interview by Matias Calderon Photos by Leontien Allemeersch, shot in Ghent
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Can you tell us about your universe in a few words? I’m a singer who creates pop songs in a classic way in Dutch, electronic sounds with a lot of ’80s and ’90s influences. For me, the most important thing is to write a good pop song. For someone who doesn’t speak Dutch, can you explain the main theme in your lyrics? My lyrics are layered. First of all, you notice the existential themes, like ‘Who am I? How do I interact with other people?’ But to compensate for such a heavy subject, I add a lot of humour and weirdness. That keeps things well-balanced. How would you describe the people who listen to your music? It’s a bunch of teenagers, art school students, but also older guys, even boomers… People often say that they relate to my music, and that’s the most important thing to me. Boomers listen to the retro vibe, while millennials relate to the existential lyrics. There’s such a disconnect between the two generations, that I feel grateful they can hate each other arriving at my concerts and learn to love each other once the gig has ended. You create your music on your own. Have you ever considered collaborating with a producer? I’m so scared of someone
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controlling my artistic process. Like, working with a producer and they would be, like, ‘No, let’s work this part first.’ It doesn’t feel organic to me, I just like working on my own, in my room. With this total control over your music and videos, how do you link the two together? Every time I finish a song, I just tell myself, ‘Well, now it’s time to create the video.’ Having a DIY aesthetic is crucial for my art and the video offers an additional layer of that to the song. It seems like you’re producing at a very high pace, no? I like to disrupt the economy behind music. There’s such a programmed schedule behind artists. First release a song, then an album, then a video. It feels robotic to me. On the other hand, I feel like being all over the map, constantly releasing.The internet generation needs a lot of attention, and I like to provide them with a lot of content. How do you see your future as a young artist? I like to create different layers in my music. The more poetic side in the lyrics, a touch of humour in the videos. I would like to create something expandable, like a video game, or an exhibit, or changing the shapes of cities. The limit doesn’t exist. I just want to have fun.
Pineapple as a pizza topping, yay or nay? Big nay. Why would you order a Hawaiian pizza? I used to eat it when I was a child, but after my sweet 16, I grew out of it.
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Spring’s coming soon. What type of salad are you eager to eat? Well, I’m going to tour with a bunch of vegans, so I’ll have to start making salads with vegan proteins. Come give me tips on vegan food during my tour!
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Willy Organ 15 Apr - De Centrale, Ghent this show is cancelled
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music
Good Morning
Picture this. You’re in your early teens living in the leafy suburbs of Melbourne. Summers are hot. You play basketball with your friends at the local club, the Eltham Wildcats. Today is the last day of basketball season and, as tradition dictates, you and your team celebrate down at the Italian diner. The evening is bathed in a golden glow. This is the basketball breakup, and these are the salad days that indie darlings Good Morning harken back to in their latest album, ‘a musical equivalent of sharing a few familysized pizzas at your local Italian restaurant’. We had a chat with co-frontman Liam about Australian politics, being young… and what Pink Floyd getting fed through a meat grinder would sound like.
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Interview by Anna Lancry Photos by Carson Brown, shot in Garden Grove
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What’s the story behind Good Morning? GM: Stefan and I met in film class in high school. We figured we liked the same stuff, so we started playing music together. Our first gig was when we were 16 and 17, where we played an acoustic cover of ‘Teenage Dream’ by Katy Perry, ha-ha. We were lucky to be growing up just as LimeWire was becoming a thing, allowing us to explore new stuff and download entire discographies – basically fucking over artists to widen your own musical background and consume whatever you want, whenever
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you want. You could say these were our salad days. So what were these musical influences and what have they developed into? You’re often likened to Mac Demarco, HOMESHAKE, Pavement… what do you think of these analogies? GM: Pavement definitely influenced how I play guitar, but beyond that I wouldn’t say those analogies are very accurate – at the time when we were starting off, they became an easy catch-all point of reference. We definitely share the same classic rock influences though: Harry Nilsson, The Beatles, Yellow Magic Orchestra… Someone
once said we sound like Pink Floyd getting fed through a meat grinder – not sure what that entails but I like it. But above all we like to explore. We saw Thundercat last night, which was a super intense two hours of shredding. I also like the new Lil Uzi Vert and Nicolas Jaar’s latest Against All Logic release. Apart from music, what did you want to do when you were younger? GM: I always wanted to be a paramedic. I like driving and the idea of running red lights. And helping people. Or a music journalist but that clearly didn’t work out. You arguably came out on the better side of that! One piece of advice you’d give your younger self? GM: I wouldn’t have taken the advice. But I’d say work a little harder. Listen to people, especially people you’re making music with. Don’t be so selfish. Your artwork is sick. What’s the story behind it? GM: Almost all our artwork is done by me or Stefan. We like to have a DIY, multidisciplinary approach to our projects and keep engaged with what we’re doing. Actually, the Basketball Breakups cover is a blind portrait of the four of us by our friend Nimi on a night out after a long day of recording
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in Japan. Likewise, all videos and recordings are usually just us and our friends – it’s fun to have creative control, but mostly it comes down to us getting bored. We like to dabble and fuck around on our laptops a bit. How do you feel about the current state of politics in Australia, and does it influence your music at all? GM: Australia is inherently rotten to its core, built on thievery like so much of the so-called Western world but with so little attempt to reconcile with the real owners of the land. Climate change plays into this too: on a federal level there’s no plan except rolling out the development of new coal mines. Now the whole Pacific area, which we’ve pillaged for centuries, building prisons on island nations and making dodgy trade deals with them to essentially steal their resources, is existentially threatened. But we offer them no climate change adaptation assistance whatsoever. Fiji was sending us aid for the bushfires – absurd! Times are desperate and the clock is ticking. So it’s fair enough that young people are disillusioned with party politics and feel like we don’t have anywhere to go, with our two unshakeable centre-left and
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centre-right parties that have locked up the political game pretty much since the foundation of Australia. It’s like the perception of Australia as chill, sunny and laid-back overrides any international concern for the atrocities our government commits. Or maybe people are just numb to the way the world works now. Our music sort of responds to this. Nothing is explicit, but the existential dread and desperation, being young at the end of the world… this pervades all our songwriting and I don’t understand how anyone making music can avoid this. To end on a completely different note… what food item is indispensable for a good salad? GM: Tomato. The best salad is that classic Italian salad. Soft cheese, basil, tomato and bread… you can’t get better than a humble tomato.
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Good Morning 16 Apr - Botanique, Brussels this show is cancelled
music
l e r Ka
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r borde s the ha s c o lt r for his u c c A n Subba w e o h n t k bitter and el is e, ed y, Kar idenc of gle v famil e e s s n a ng se climb and – o s t k dazzli c y it tra is abil t lofi t his in – h swee him a d aga near n a peris d in n io aga -base truct erdam ancr obs t d e s v d e m n t A a ith wha g brain oke w Lookin s, the We sp enon. ndrik the e m n H o gigs. o l n e s e g r Kar the ph musin d mpse is li in h g forme h d a gs be share e got e w h d ing le rives , n d d a ahea iosity loose t of cur to let u e e b s , ir n e s e r de chill s re the a is s h m w a of ho e dre ar: ns. Th ing cle his pla one th Karel e . k h a us let’s m d to r e e n. n u ing f ’s no there is hav
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Hi Karel! What are you up to today?
I’m making music! Right now, I’m working on some music for a commercial. I’ve got a studio in the northern part of Amsterdam, by the water, in a kind of industrial space. It looks exactly like what you would picture when thinking of Amsterdam. And then tonight, I’m going to a Subbacultcha show. When did you first decide to climb the stage as Karel?
I’ve been performing with different bands for a while now, but I was always the drummer. This means that I was always in the background and that I didn’t have a huge influence on what was happening on stage. I always found that not enough was happening during live shows, even though I always tried to find ways to make that happen. One day, I decided to make music on my own and find more freedom through a solo project. That’s when Karel happened. It actually started out as a joke at house parties and birthday parties, until a friend asked me if I was interested in playing a stage. That was back in 2018, around the time I moved to Amsterdam. I’d always wanted to make new things on my own. I have to say that I’m also thinking that perhaps things have moved a bit fast.
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What would you have wanted to move more slowly?
Well, I don’t think I would have put some of my songs online so early on. It’s very tempting to do so, but I don’t think there should be any need to publish songs just for the sake of having songs online. What’s the rush? I get that. You mentioned how this started out as a living room project. When it comes to your live shows now, the stage may be bigger but you’re still known as the life of the party. How do you think about your live shows when you’re putting together the songs?
To be honest, I’m following my feelings. I act the way I do on stage in order to let loose. I don’t necessarily think about it a lot beforehand. The same thing goes when I’m making music. When I listen to some of my first songs now, I can feel like they aren’t substantive enough, or like I put them out there too fast. That’s why I’m looking forward to putting out new songs soon and to performing them with a live band. What direction are you heading towards with the new songs?
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On the old songs, I basically have a backing track which plays four-second loops. That can also be very powerful, but I want to step away from that now. I’m looking at making songs in the more traditional sense, I guess they will have more of a storyline now. You could say that I’ve been staying closer to musical theory now. The live shows won’t change that much; there will just be a band to back me up on stage. Together with the karaoke feel of your songs and the decision to switch from a solo performance to playing with a band, I can’t help but think about John Maus. I’m sure you’ve heard this comparison before. How do you feel about that?
I totally get it, though I do think that our music is very different. I do think it’s a huge compliment!
Interview by Paola Verhaert Photos by Isolde Woudstra, shot in Amsterdam and Breukelen
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Karel 30 Apr - Bar Broos, Ghent this show is cancelled
art
Elisa Liepsch Who knew being a performing arts programmer included the deconstruction of an institution and making sure the artist you booked gets a safe ride home? Meet Elisa Liepsch, who has started the process of tearing down the walls of Beursschouwburg in the best way possible.
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Interview by Louise Souvagie Photos by Nina Linggadjaja, shot in Brussels
Thank you for having us, Elisa — and congratulations with your position as the new performing arts programmer at Beursschouwburg. You have been here since September. How did you experience your transition from Germany to Belgium’s capital? E.L. What’s interesting about Brussels is that I have the feeling that the arts community is permanently in transition because people are constantly arriving or moving. I worked in Frankfurt before and of course there were people with various backgrounds as well, but here I feel it’s even more diverse. People bring different working practices or different styles to the arts here and I find that very enriching. Of course, it still takes a long time to dig deeper in the city from my perspective, because at the moment I think I’m only scratching on the surface somehow. You have a strong interest in the plurality of voices and decolonization. Could you elaborate on your take on the subject? E.L. I think we need to deconstruct the institutions and everything that comes with it. By deconstruction I mean analyzing the structures of the institution and ‘ruin’ the place. There has to be a radical involvement of the people and voices which are not part of
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the institution so far. It has to eliminate the idea of the artistic director and I think institutions should become a collective experience. I think the cement of our societies is racism and the institutions play a big role in maintaining that. That’s why we need to work on that. Diversity and decolonization unfortunately very often have become marketing, which is problematic because it’s a very serious struggle. Space plays a big role in my work because people are perceiving the Black Box or theatre space mainly as neutral, while it’s not neutral at all: it’s very violent. Certain bodies have always been expelled from these spaces. A Black Box was made for white people because a white body is very visible in front of black walls, whereas a black body disappears. The Black Box is not an empty space — it’s full of colonial history. Decolonization doesn’t only mean to deconstruct or decolonize a certain canon in the theaters, but it mainly means a decolonization of the mind: unlearning what we’ve learned, questioning things and the way we do them, thinking about politics of invitation, care work with the artists… When you invite people of colour and Black
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people, they often face a lot of racism on their way to your institution — you are responsible for that. I am personally not interested in a product of art, I am interested in a process and a relationship with people. That’s my work. Decolonization also involves the idea that we are not all fighting the same struggle. In reference to Sara Ahmed, I would say solidarity means that we might have different struggles but we all live on common grounds. We have to share the space we have. Isn’t there also a difficulty in the plurality of voices that we tend to focus on our differences? E.L. I think it’s important to acknowledge that we are different, but to find a way to include our differences in our fight for solidarity. This is also part of the analysis of deconstruction: to give a voice to people who have never been given a voice which includes speaking of certain identities which were not at the table before. The term ‘identity politics’ is very problematic because it has been introduced by what in Germany is called the ‘majority society’, ‘which has been pointing fingers at those with a migration background. No wonder people now speak about
these differences because they have been imposed on them. My program is an offer to everyone. There is so much interesting art out there, especially from communities which have not been represented by white art institutions or on stages before. The avant-garde really is out on the streets, but it’s been neglected for a long time. Is there anything in particular you’re really looking forward to this season? E.L. I’m really happy about all the artists coming, but I think I’m especially looking forward to Selina Thompson at the end of March with her piece ‘salt.’ because I think she’s an incredible writer and performer. She set up this solo show about her own ancestry, grief and everyday racism. Sometimes another actress plays her role, but here it will be her, so I’m very much looking forward to that. To which extent are you breaking the fourth wall this season? You recently organized Rosana Cade’s ‘Walking: Holding’ in which people of Brussels walked hand in hand with performers in the city. Are you aiming for more participation from the public? E.L. ‘Walking: Holding’ was a very close encounter. We worked together with 18 local performers and they had a workshop, a rehearsal, preparation talks and
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post-event talks. It’s important for me not only to make a program but to initiate processes or conversations. The last piece we will be presenting, ‘useless land’ by Carolina Mendonça and Catalina Insignares at the end of April, is a kind of sleepover, so we will put mattresses on the stage and we are building up a temporary community. The two of them are reading texts to us and the audience can listen or sleep, have tea together… all night long. It’s a kind of occupation of the stage. Which places have had the biggest impact on you? E.L. I’ve travelled the African continent, where I learned a lot. I was very impressed by India and Brazil too, so I feel very closely connected to the so-called South. I find it problematic how people from the South are kind of socialized by Western thought, but then very interesting because of course they have their local references and spiritual ones like in India, and all of this gets mixed up somehow. I think they are way ahead of us. We are very much in a bubble here. We should keep moving and question ourselves constantly. I’ve started a conversation and I carry on having it.
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Say Yes To Performance. In 2020 all performances in Beursschouwburg are free for members.
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art
ram
e k e b r e d an
Bram Vanderbeke is known for his timeless architectural objects and fragmented sculptures. He creates a whole new level of ‘meta’ with subtle, thoughtful commentary through the use of concrete, aluminium and steel. Playing with scale, the artist’s portfolio keeps the size of each piece secret until you see them with their own eyes. From functional to monumental, Vanderbeke drags his viewers passionately into his ode to architectural aesthetics.
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Interview by Isabel Elwood Photos by Tiny Geeroms, shot in Ghent
How would you describe your work? : I call my work ‘architectural objects’ because it connects a lot of architectural elements of the street and the public space. I like to stack things, create rhythm, repeat certain forms. I’m fascinated by patterns and textures. How did you choose to work with the rough materials of aluminium, concrete and steel? : They come back a lot in urban landscapes. It’s the place that fascinates me the most. I walk around cities with my camera and take pictures of rhythms. As a kid I wanted to become a bricklayer and build things with my own hands, so I studied wood and construction. Later on, at Eindhoven Design Academy, I got to experiment with new tools, see their effect and get different perspectives. Your work plays between the fields of design, monument, sculpture and furniture, and finds multiple forms and functions. Can you elaborate on your research and construction process? : I have a free way of building. I don’t think or sketch too much. I cast concrete in a negative shape of the construction that I want to make and then I break the mould. I see where it takes me. It might take me a few days just to build the shape – by trying, not planning.
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A lot of my pieces have a spacial function and are abstract. The most functional piece I have is a stackable stool. Then again, when you stack it, it transforms into an architectural element – a column – on its own. It’s a fine line. I enjoy it a lot! In my series ‘New Primitives’, I cast concrete into big moulds. I then used my angle grinder to reshape each piece. The natural imperfection of cast concrete gives it this rough texture and soft feeling, it’s very organic. I also add lots of different stones to the mix, like lava stones or basalt stones. When I grind over it, they become visible. It might be subtle but it adds a second layer to the piece. What’s the most noticeable evolution in your work since you started? : The most changing thing is that I’m going from object-scale towards the ambition to create more monumental objects – some for public spaces – which have an impact on the space itself. I’ve also been working more with architects on art integration projects. What bigger scale object would you like to create and integrate in the city? : I would choose a public square or a park, a place where many people pass by. I would place an object there which gets activated by people.
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People could sit on it or walk through it, there would be an interaction with it. It could be an arc, a column… maybe a long balustrade! You’re a member of the BRUT collective. What’s your idiom, concept and vision? : We’re five designers. We all work with architectural, sculptural and emotional values. Each of us designs pieces – they may be more emotional or sculptural – and together they overlap. In the co-decided scenography, we try to find a balance between all these different elements to show a collective narrative. Which artist has given you the most lasting impression and inspiration? : My all-time favourite architect is Juliaan Lampens, he makes Brutalist buildings. Architecture is my main inspiration. Even when I go on holiday, I plan them in relation to the buildings I want to see.
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bramvanderbeke.com @bramvanderbeke Discover Bram Vanderbeke’s work as a scenographer for the exhibition Kleureyck. Van Eyck’s Colours in Design at Design Museum Gent.
Collection: Jaimy Aris D’hont (@_4r1s) On set: Laura-Andréa Callewaert (@lauracallewa) and Rashidam Nassyrova (@nass.ras)
A film by Pablo Larrain Music by Nicolas Jaar
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IN BELGIAN CINEMAS
recent finds
by Wannes Dewit
HASH#HASH facebook.com/hashhashnights
HASH#HASH is a new series of algoraves in Brussels, nights where hacking meets clubbing. The music, sometimes harsh, sometimes dizzying in its experimentation, is being live coded. Live-coding is what happens when you look under the hood of your computer, writing algorithms and code to generate music. More often than not the music tends to feel like a living organism, approaching nature through endless algorithms and random factors in the code. The screens of the performing artists get projected, sometimes along with live-coded visuals. This shows the political engagement of the algorave community of being transparent, exposing processes. They believe that this transparency is vital in clearing impasses imposed upon the international music scene and society by modern-day capitalism.
gone icon soundcloud.com/user-101402648 @gone_icon
At first sight, gone icon appears to be the ethereal love child of Arca and DJ lostboi. The Belgian producer’s music is made up of translucent sounds that appear to breath and stutter along with a mangled singing voice. The resolution of his first single has a whispering voice chanting ‘Elysium’, which in classical mythology was the home of the pure and blessed after death. The track leaves you with the same kind of feeling of acquiescence one would feel in the Elysian fields. Don’t miss his live AV shows, with visuals by Sybil Montet portraying fluid organisms propelling themselves through crystalline forests, all alike in their eerie elegance.
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recent finds KANON festival
by
fest ival c rew
25 Apr, 12.00-00.00 various locations (cf. below), Ghent Free entrance kanonkanon.be @kanonfestival
KANON, a diverse group of art students, artists and cultural workers, was brought together by the recent cultural budget cuts announced by the Flemish government. They wanted to reflect on what brings some to think that culture shouldn’t be funded, as such measures question the relevance of culture and how it participates in the formation of our society. Where better than the public space to initiate an open conversation on culture through a joyful activation of our streets? With a music stage, theatre and performance happenings, visual art works, an open-air cinema, an exhibition about architecture, an open atelier and a speech platform, KANON plans to release an explosion of culture in the streets of Ghent on Saturday, 25 April. Their open call has triggered many enthusiastic project proposals, forming an ever-growing community of participants. Join KANON to transform the city into a museum, a stage, a canvas and a thinking laboratory. KANON won’t be a protest, but a celebration of qualities. A generous gesture from makers to their public. open atelier and speech platform: Sint-Baafsplein
music stage: Hof van Rijhove and Graffitistraatje open air cinema: Botermarkt
theatre and performance: Kalandeberg and other locations exhibition: Architects come together – Stadshal afterparty: unreleased location
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Date subject to change! Please keep an eye on the website!
In de huidige situatie zijn alle evenementen in Het Bos tot ver in april afgelast.. We verwachten dat de maatregelen verlengd worden en dat meer annuleringen zullen volgen. Dus met of zonder overheidsmaatregelen zal ons voorjaar er hoe dan ook drastisch anders uit gaan zien.
We maken van de gelegenheid gebruik om ons archief in te duiken en oud materiaal in een nieuw jasje de wereld in te sturen. Ook via onze nieuwsbrief krijg je wekelijks een greep uit het archiefmateriaal te zien.
www.hetbos.be
Welke foto’s en projecten mogen we zeker niet vergeten? en wat zouden jullie de komende weken nog graag voorbij zien komen?
Mail, schrijf, roep, teken, twitter, alle middelen zijn geoorloofd !
Wij wensen jullie alvast veel fysieke afstand, gedesinfecteerde handen en sterkte.
recent finds
by Jozefi en Wou ters
Only Fire
You know your taste in music is thoroughly fucked up when a song called ‘Anal Sex’ pops into your Discover Weekly-playlist. Obviously it caught my attention. There’s no way back now: I must confess I’m slightly hooked. No one seems to know who’s behind Only Fire, but it looks like the project started off as a way of getting streams by stealing song titles from massive hits and luring innocent listeners into their musical trap. Imagine searching for Ariana Grande’s ‘Thank U, Next’ and hearing an AI-generated voice say, ‘I squirt squirt squirt / To get it sticky like a sticker’. Sophomore album Double Penetration confirms Only Fire knows how to turn period sex, Donald Trump and doggy style into disturbing bangers. Part meme, part PC Music successor, 100% catchy.
Britney OS ’99 itsbritneybot.com
Last year, Britney Spears’ iconic debut album, Baby One More Time, turned 20. To celebrate, creative agency Modern English designed a micro site that takes you and your desktop back to 1999, or as they sell it: ‘Miss the 90s? Live them, baby, one more time by using the Britney OS ’99 experience!’ The colourful, slightly kitschy website gives you the chance to interact with a virtual version of the pop star named Britney Bot, but it also provides Britney-infused GIFs, videos and playlists for every mood. You can even let the icon herself fill in for you on your voicemail so everyone thinks she’s your new BFF. We’re all slaves 4 Britney, aren’t we?
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we visit you
Age 26 Zodiac sign Aquarius Instagram @bjeor_ Subbacultcha member since May 2016
Toon Roebben
Tell us, what do you do in life?
I work as a crew manager for Horst Festival and and& festival. Next to that I organise nacht at STELPLAATS and Habitat Festival, and I also curate nightlife events at STUK in Leuven. Last but not least, I DJ as Bjeor.
What do you like best about your place?
I love that I live in a quiet neighbourhood while still being part of the vibrant city of Brussels.
What kind of music are you listening to at the moment? Everything from the Dutch label Nous’Klaer Audio, which has been my favourite label for about a year. And I’m always triggered by finding new (old) music with influences from the early days of Detroit techno.
What’s the first record you bought?
That’s a hard one. I started DJ-ing and collecting music 12 years ago so it’s really hard to pinpoint the first record I bought. But some of the records that marked my first steps into house and techno were ‘All The Time’ by DJ Koze and ‘Bergwein’ by Efdemin.
What’s your favourite pastime?
Sitting on the sofa and searching for music on Discogs and Bandcamp. Next to that I love to be outside. I’m totally relaxed when I’m wandering through the streets or out for a run.
Any guilty pleasures?
Watching RSC Anderlecht on a Sunday in the stadium. Beers and a burger can’t be missed during this afternoon with friends.
What’s your favourite salad?
I would go for a classic Caesar salad.
Have you experienced any regrets recently?
I try not to think about regrets and keep on focusing on doing things better in the future.
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Photo by Elies Van Renterghem, shot in Brussels
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FRONT COVER Karel shot by Isolde Woudstra EDITORS IN CHIEF Herlinde Raeman & Kasper-Jan Raeman PRINT MAGAZINE EDITORS Julien Van de Casteele & Isaline Raes COPY EDITOR Megan Roberts DESIGN Chloé D’hauwe
PARTNERS Fotoshop Gent, Artists United, Paypro Services, GEWADRUPO, Botanique, Democrazy, Het Bos, De Studio, This Is Antwerp, MSK, Be-Part, Fritz Kola, Bozar, Design Museum, Down The Rabbit Hole, OpenVRT, Dr. Martens, Cinéart, CC Knokke-Heist, KulturA, Beursschouwburg, Volta, Kino Corso, Magasin 4, PopKatari, Pekfabriek, Union Nautique, Het Depot, Onderstroom, Bar Broos, KVS, Cinema Palace, De Cinema, KASKcinema, Cinematek, M Leuven, Kunsthal Extra City, FOMU & Argos OFFICE
ADVERTISING & PARTNERSHIPS kasper-jan@subbacultcha.be PRINTER Drukkerij GEWADRUPO, Arendonk, Belgium CONTRIBUTING WRITERS Gabriela González, Isaline Raes, Julien Van de Casteele, Isabel Elwood, Wannes Dewit, Anna Lancry, Matias Calderon, Charlotte Lara De Cort, Paola Verhaert, Laura Isachenko, Suzanne Cleerdin , KANON & Jozefien Wouters CONTRIBUTING PHOTOGRAPHERS Tiny Geeroms, Laura-Andréa Callewaert, Rashidam Nassyrova, Elies Van Renterghem, Leontien Allemeersch & Carson Brown CONTRIBUTING ARTIST Bram Vanderbeke
COMMUNITY MANAGER Mats Van Eccelpoel ONLINE EDITOR Milena Maenhaut ONLINE COPY EDITOR Gabriela Gonzalez INTERNS Céline Van de Rostyne & Yan Geraltovskiy EDITORIAL magazine@subbacultcha.be MEMBERSHIPS memberships@subbacultcha.be Subbacultcha Belgium, Dendermondsesteenweg 80A, 9000 Ghent, Belgium
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