Subbacultcha Belgium September/October 2021 by Subbacultcha

(Re)connect September & October 2021

Brussels Touch

27.08.21— 15.05.22 E.R : D. Laurent, rue du Poivre 1, 1000 Bruxelles Graphic design: Bureau Wolewinski

Rue de la Violette 12—1000 Brussels fashionandlacemuseum.brussels

editor’s note p 9 agenda p 14 David Numwami p 22 Patches p 30 Alexis Gautier p 38 Submissions p 60 Subba faces p 7

Container Cucina Povera Dominique Grimaud EC Band abe Elis th Klinck Foudre Rockeur Heta Bilaletdin Ilpo Numminen Jon Dunbar & The Cheese Chandeliers Justine Grillet Le Diable Dégoûtant Michèle Bokanowski Million Brazilians Spuk Disk Pierre Elitair DJ set

Editor’s note

(Re)connect After months of self-isolation, reconnecting sounds like the more important thing to do. But how do you start directing your attention towards something that was so obvious before? We need a different approach. Priorities and environments have changed, people are questioning everything: ‘We knew where we stood before all this happened, now we’re not sure.’ As we slowly emerge towards being physically present in one location – one place with many relationships and different engagements – social distancing inevitably feels strange at the end of this winding road. So let’s get back out there together and strive for that old sense of cohesion. ‘I know you, you know me. One thing I can tell you is you got to be free.’ Thank you Milena, Laura, Astrid, Kasper-Jan, Mats, Meg, Gabriela, Chloé, Anna, Linde, Bruna, Miguel, Leen, David, Louise, Alexis, Lisa & Lotte Your editor-in-chief, Herlinde

ALEXIS GAUTIER

17.09.21 20.03.22 © Alexis Gautier

M-LIFE

Overview

Music

Expo

05.09 David Numwami + Peet until BXL UNIVERSEL II: multipli. Onderstroom (Het Bos), Antwerp 12.09 city Centrale, Brussels 12.09 Noannaos Night: Ashley until Shilpa Gupta - Today Will Morgan & Friends 12.09 End M HKA, Antwerp Botanique, Brussels until Hyper Organisms 24.09 Victor De Roo + Sergeant 19.09 IMAL, Brussels Het Bos, Antwerp 01.10 - Alexis Gautier - L’heure de 25.09 Bbymutha Botanique, Brussels 30.11 la Soupe M Leuven, Leuven 16.10 Festival Voix De Femmes 07 - Belgian Art & Design Fair present Michelle Blades 10.10 Floraliënhal, Ghent KulturA, Liège 08.10 - David Hockney 02.11 SUWI + Patches 23.01 Bozar, Brussels Handelsbeurs (Democrazy), Ghent 21.10 - Next Generation Please 14.11 Bozar, Brussels

Performance

until Brussels Touch Fashion & Lace Museum, Brussels 09.09 What the God GC De Rinck, Anderlecht 15.05 15.09 Indoor Weather Toneelhuis, Antwerp

Film

17 & Selina Thompson - Salt 01.10 FOR ALL QUEENS! 18.09 Beursschouwburg, Brussels presents: So You Wanna 18 & Youth For Sex Vogue Huh?! Kaaitheater, Brussels 19.09 De Studio, Antwerp

MUBI

24.09 Grief & Beauty NTGent Schouwburg, Ghent

As a Subbacultcha member, you can enjoy three months of MUBI entirely free. MUBI is a curated online cinema where you can discover the world’s greatest films.

Workshop

21 & Mohamed Toukabri - The 22.10 Power (of) The Fragile Beursschouwburg, Brussels 11.09 Start to buy art Info Point Brussels Gallery Weekend, Brussels 9

Triënnale voor actuele kunst 26 juni — 24 oktober 2021 paradisekortrijk.be 10

David Numwami + Peet 5 Sep - Onderstroom (Het Bos), Antwerp DAVID NUMWAMI The all-rounder with a thousand musical legs from Brussels. Although relatively underexposed in Flanders, Numwami has been wreaking havoc in Brussels and breaking linguistic and national borders for several years now. He danced on a self-made line between pop, Afrobeat and electronica with Le Colisée; wrote songs for Nicholas Godin of Air; was part of Charlotte Gainsbourg's backing band; and played with Sebastien Tellier. As David Numwami, he succeeds in taking a different path again, and enchants us with frisky chansons in a southern sauce.

Mohamed Toukabri - The Power (of) The Fragile 21 + 22 Oct - Beursschouwburg, Brussels As a way to explore the natural cycle of life and death, Mohamed Toukabri invites two bodies to perform: a young one and an old one. Different segments, from childhood to adolescence, old age and the dying body, the artist investigates the correlation between maturity and decay of the physical form. A macabre yet hopeful way of exploring the meaning of human life: where there is life, there must be death.

SUWI + Patches 2 Nov - Handelsbeurs (Democrazy), Ghent

PEET Rapper and beatmaker also known as Docteur Peet, Docteur Love, Dirty Peet and Supra Bawler, Peet has been transforming stages with Le 77 for years, but put himself on the map this year with his solo debut, Mignon, on which he masterfully translates Brussels’ street talk and pub chat into devastating songs. Live show with band!

Peaceful, smart and straightforward, SUWI makes music that appeals to the imagination and leaves you in a haze of pink and blue. The instrumental jazz trio from Ghent found each other in 2019, while jamming in Hot Club de Gand. And we’re very glad they did. It seems as though Elias Devoldere (Nordmann), Cyriel Vandenabeele (Okkupeerder) and Mattias Geernaert (Kosmo Sound) form a perfect musical triumvirate. As a counter-reaction to the hectic pace and chaos of

In één keer in huis, in twaalf keer betaald

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Ontdek de betaalbare kunstcollectie van Kunst Aan Zet. Een collectie hedendaagse kunst en design door kunstenaars uit Vlaanderen en Brussel. Je koopt bij topgaleries en betaalt via onze renteloze kunstlening. Helemaal op jouw tempo dus en zonder dat het je een euro extra kost.

Meer weten? Ga naar kunstaanzet.be of bezoek de deelnemende galeries Jaarlijks kostenpercentage (JKP) van 0%. Let op, geld lenen kost ook geld

modern life, the band creates simple structures, light melodies and breathing grooves. This autumn they’ll treat us to a second album that they will present at the Handelsbeurs. Their single ‘French with Simona’ immediately sets the bar extremely high. Support comes from Patches: art pop with the right balance between sultry vocals, beats and musical arcs of tension.

David Hockney

contemporary works by the painter, now aged 83. During Spring 2020, at his home in Normandy, he used his iPad to ‘paint’ the unfolding of spring around the time of the first lockdown. The colourful paintings of the beauty of nature remind us that we must continue to ‘love life’ even during these unsettling times: ‘Do remember they can’t cancel the spring.’ The series of 116 works is printed on high-quality paper and will be exhibited in full in the Centre for Fine Arts.

8 Oct - 23 Jan - Bozar, Brussels

13 13

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David Hockney: Works from the Tate Collection, 1954-2017, collects a comprehensive series of more than 80 of Hockney’s paintings, drawings and prints from the Tate Collection. This survey spans his entire career and includes a number of memorable works from the last century, such as the vast double portraits ‘My Parents’ and ‘Mr and Mrs Clark and Percy’. The imposing ‘Bigger Trees Near Warter’ from 2007 is Hockney’s largest piece of work (over 12 metres long) and transports the visitor to a gloomy day in Yorkshire, where the artist grew up. David Hockney: The Arrival of Spring, Normandy, 2020, presented in partnership with the Royal Academy of Arts, London, consists of a series of

Music

All I aim for is to make true pop music

David Numwami

David Numwami is spending his only week of vacation in a village in Italy, near the border of France. The NUMWAMI WORLD – to reference his recently released debut album – looks like a tall green mountain today through the pixelated screen. He tells us about reconnecting to his old self while touring, his first art-directing experiences and the musical shift from Schönberg to Madonna.

Interview by Louise Souvagie, photos by Miguel Soll, shot in Brussels

What has it been like returning to the stage after the whole COVID hassle? I’m very lucky to be on not one but two tours right now: my own and one with a French musician called Sébastien Tellier. I was supposed to play with him way before the virus hit, but the tour got delayed again and again. In the meantime I started releasing my own songs. As soon as the gates opened I was on the road again. I imagined the first shows to be very different. I thought we’d all go collectively crazy. But then it really wasn’t like that at all. I have to admit I was a little disappointed at first. People had to sit down and wear masks, it made us all go, ‘Ah, it looks like a show, but it isn’t, actually.’ But we’re getting there now. It must be strange releasing your first record mid-pandemic. I was actually cool with that part. Of course, since it’s my first one, I didn’t have to compare the experience, but I really enjoy working from home. It was the perfect excuse to go, ‘Yeah… I can’t come to your party tonight.’ 16

But I have to admit I felt like I lost a whole range of feelings in isolation. Bringing the album now to people through shows is giving me the ability to reconnect with that side of myself. Shows are weird. You feel alone on stage and people are below you. The sense of hierarchy has always felt wrong to me. Imagine you’re at a dinner party with seven people and you want to say something to your friend, but suddenly everyone turns to you expecting you to address the whole group and say a meaningful thing instead of the joke you were going to pull. Stages do that to someone, too. Everyone looks up to you and it makes you feel silly. It helps, too: your voice is instantly validated. Your videos and artwork have a distinct look. Are there people who you work with regularly? Illustrator Camille Potte made most of the artwork for the singles and album. ‘Beats’ was supposed to be directed by a friend. Because of COVID he couldn’t travel here so my manager suggested I do it myself. The simple fact that

he thought I’d be able to do it, made me able to do it. I followed the storyboard that my friend had made for a previous video and felt like I could adapt it to my own concept. I’ve become much more invested in the visual aspect of my work. I even enjoy it more than making music. I can be more laid back doing so since I’m not an art director, so no one will judge me as if I were. I pressure myself much more as a musician. I’m more serious.

You can’t tell though. Your sound is very light and breezy. To achieve lightness is actually very hard. I usually start off with a much more complicated melody, but ever since I discovered pop music I realise I need to eliminate a huge part of my musical score. Were you classically trained? Yes, I started music classes when I was five and grew up playing the classical guitar. I ended up studying musicology, researching composers like Schönberg. But honestly,

I just really love Britney Spears. Also, albums by Madonna like American Life and Ray of Light. And current pop stars like Charli XCX! The album she created in lockdown – it took her no more than two months and it’s incredible… I suppose pop music came to me in a reverse way: usually pop music is the first type of music which you’re bombarded with because it’s omnipresent. With me, I didn’t consciously hear it until much later in my life and now it’s all I aim for: to make true pop music.

DAVID NUMWAMI + PEET 5 Sep - Onderstroom (Het Bos), Antwerp free for members

Music

Patches Patches’ subdued and introspective pop emerges from a desire for the centredness and liberating mental clarity that Lotte Lauwers experiences when she writes. We talked about inner child work, borrowing song lyrics from recipe books and the role that sensuality and physical connection play in her music. Her EP, Silver Foxes, is coming out in October.

Interview by Anna Lancry, photos by Leen Hoogmartens, shot in Ghent

Hey Lotte, what is Patches? Patches is a sensual ride to some dream world. It’s a deeply personal project but also a collaboration between different people and elements. Everything and everyone involved is important. During our last live performance, it was the first time playing with a new band, and everything felt so perfectly aligned – it had just rained, the sun was setting. It made me hungry for more live shows. What and who inspires you? Sade. Her music is so timeless – she’s always herself, very sensual in a non-sexual way, calm and smart. Lana Del Rey’s lyrics also really inspire me. I like artists who write poetry, it follows how I write my music. Non-musically I’m inspired by loads and I like to dip into everything. I love to cook, and actually when you read recipe books the way they describe ingredients and dishes can be so sensual and poetic! [Laughs] Then I steal a word or two and write them in my notebook to use for lyrics. Recently I saw Sylvie Kreusch 25 25

perform. The way she took the stage, she was so caught up in her world and every word she sang was like biting into an apple. She’s a powerhouse. You do yoga. What role does sensuality, physicality and connection to the body play for you? I very recently started understanding how different sensuality and sexuality are. When I discovered yoga, I became so much more in touch with my body and realised that it’s mine, I love to move it. I was out of touch with it for so long. It’s great to be centred and put that into my music. So it helps you find your body for yourself as opposed to through other people’s eyes? Yes – something which is a constant struggle. Yoga is the first type of movement I can do without slipping into the toxic thing of compulsive exercise. Music also helps me to reconnect with myself. It’s therapy. When I am writing, I feel centred and I know I exist. A lot of us have brain fog – but I never have it when I’m performing or writing

music. I forget myself when I’m performing on stage, it’s so liberating and almost transcendental. How else do you reconnect with yourself or with others? I’ve been doing inner child work. Tracing everything back, breaking down your beliefs, each time asking: ‘Why?’ I’ve been writing down everything which prevents it from rising to the surface in unpleasant ways. Also, I forgive people. Is there anything bigger you are trying to connect with or convey through your music? I want to present the message to women that you can both be strong and own your feminine energy. But I’m also open about the vibe people get from my music. I like it if people feel different things. Maybe you can dance, or do something romantic, or do something with yourself to my music.

What are you listening to these days? Smerz. Also, Arab pop; it’s so fun to dance to. It can be almost challenging to listen to because it’s not a sound we’re accustomed to hearing in Western pop, it’s special. Something that has warmed your heart recently? My best friend from high school just had a baby. Seeing her with a baby – wow. I’m not a baby person but I was completely in love. What is something people should do more? Touch themselves. Stroke your arms and hug yourself, it can calm your nerves. Show yourself affection. How do you try and improve yourself as an artist? I believe to grow you have to challenge yourself. To do this, I listen to new genres and read. Reading broadens your vision enormously so I’m very disciplined about it. Right now, I’m reading The Body Keeps the Score by Bessel van der Kolk.

SUWI + PATCHES 2 Nov - Handelsbeurs (Democrazy), Ghent free for members

Art

Alexis Gautier navigates between mediums, roles and geographies. A true multi-hyphenate, whether he’s been a taxi driver, a museum attendant or a tennis player, Gautier always weaves his own narrative into those of his collaborators and contributors. We met up to talk about his upcoming exhibition, but also to better understand his creative process.

Interview by Bruna Martins, photos by Linde Stevens, shot in Shaerbeek

When we were researching you, we found a lot of information about a tennis player named Alexis Gautier… I can imagine! A while ago a friend of mine sent me a screenshot of my face on a professional tennis website. It has a record of match points and statistics. The staff of the website had mistaken me for the other Alexis, the real tennis player, which I find an interesting starting point for something else.

To begin with, I invited him to have a match with me in the space of the museum. It will happen on the last day of the exhibition, l’Heure de la Soupe, at M Leuven. We’ll move away some of the works and pull a net through the exhibition space… I still have six months to learn how to play [laughs].

This sounds like a big event! Can you tell us something about the exhibition? The exhibition is conceived as a fiction written collectively, with a diverse group of co-authors who are simultaneously protagonists of the show. I collaborated with each of them in various ways: a group of embroiderers provided me with a storyboard; artist Richard Tuttle contributed with floor work; a group of craftsmen made ceramic doors.

The museum attendants are also involved… I was intrigued

by their ability to navigate between the visible and the invisible, and the ways in which they absorb the visual regime of a museum. They are an important part of the context, so working with them is a way of thinking about the institution as a material.

Why did you choose Brussels? How is it a match with you and your work? Chaos. In the idea of chaos everything touches everything, as my friend Nico Dockx would say. I find Brussels very chaotic and I think that’s inspiring.

Now that we’ve established that you’re not a professional tennis player, can you introduce yourself? I’m Alexis. I live in Brussels and in Brittany, where I grew up. I graduated from the Städelschule in Frankfurt and I miss the sea.

I also feel very comfortable with people from Belgium, they surprisingly have a similar character to people from Brittany. There’s somehow a friendly unpretentiousness and it’s inviting, it feels like an open field full of possibilities.

There are no rules for collaborations, it defines 34

itself every time anew 35

You work in various different mediums. Is there a specific reason for that? The medium that I use always depends on the context or the person that I’m working with. I try to keep it flexible and vulnerable. They can be textile makers, artists or neighbours…

Would you say that it sets less limits? Sure, it’s infinite. It’s defined by encounters. I’m fascinated by sculpture, image-making and textiles, but I don't limit myself to them. When I decided to work with art it might have been a way of keeping doors open.

Not about, but around

ALEXIS GAUTIER - L’HEURE DE LA SOUPE 17 Sept-20 March - M Leuven, Leuven free for members from 1 Oct-31 Nov

Submissions

Wietse Vergauwe @_wietse Brussels

‘2111201310’

Sophie Laenen @b.collective.be Brussels

‘Opening B-collective with NAS studio’ Photo by @66.2.7777

Charlotte Daniëlse @charlottedaniel.se Ghent

‘State of melting. Material: solar energy, skin. Exposure time: 14hours. June 2020’

Alies Torfs @aliesmaria Lokeren

‘Ville som vanligt’

1 > 11 JULY

Marcela Levi & Lucía Russo Myriam Van Imschoot & HYOID Ingrid Berger Myhre Enkidu Khaled

LOOKING FOR A THRILL? SO ARE WE. INSIDE OUT by CITYLAB

Fatima-Zohra Ait El Maâti Yasmine Yahiatene Yipoon Chiem Monica Kamara & guests Alex Briana Ashley Stuart Jihan Imago

DIVE INTO A FRESH KAAITHEATER SEASON & {PAY WHAT YOU CAN} >kaaitheater.be Kaaitheater is a Brussels stage for DANCE, THEATRE, PERFORMANCE & CONVERSATIONS.

Catherine Lemblé @catherine.lemble Brussels

‘Montenvers (Curtains)’

Louise De Buck @louisedebuck Brussels

‘Search for an escape’

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ultcha

c subba shop.

Model - Anna Zaharia (c) Elliot Thiry and Malika Ferchichi

Young people take over Bozar

Next Generation, Please! 21 Oct. £ 14 Nov. ’21 § Exhibition § Performances § Films

Oriane Verstraeten @orianeverstraeten_ Antwerp

‘Rio de Janeiro, a subjective reality’

Seppe Vancraywinkel @seppevancraywinkel Brussels

‘Untitled’ part of the series ‘Within The Bubble of Surroundings’

Europa’s mooiste gecureerde series en ﬁlms binnen handbereik /LUMIEREBENL

/MYLUM.TV

Tessa Van Thielen ‘Ice, waterfall’ Antwerp available at shop.su bbacultcha.be

31.10 10.11 Acid Arab Amadou & Mariam Briqueville Connan Mockasin DIRK. Dr. Rubinstein DVS1 Erol Alkan aka Disco 3000 KRANKk Lucrecia Dalt Mauro Pawlowski Oscar Jerome Peter Van Hoesen Poté Stikstof Whispering Sons The Cool Greenhouse SUWI & many more Charlatan / De Centrale Handelsbeurs / Minard NTGent / Voo?uit / Trefpunt

DEMOCRAZY democrazy.be

Julia Garcia Rubio @juliagarciarubio Antwerp

‘Éphémère’ Photo by @linetaliduma

CIRCUS RONALDO 50 JAAR

8 T/M 17 OKTOBER AAN DE NEKKER IN MECHELEN 54

WWW.CULTUURCENTRUMMECHELEN.BE

Sofie Devriendt @_sofie Brussels 55

‘Isola Bella’, 2019

4.9.21—16.1.22

muzee.be

Louise Muizenstaart @louisemui_enstaart Ghent

‘Comment Devenir Un Loup’ Screenwriter & actress: Louise ‘Loulou’ Muizenstaart Director: Laurent ‘Lolo’ Vanderstokken

BA-

DF.B

07 — 10

October 2021 Floraliënhal, GHENT E

Jean-Samuel N’Sengi, Lipstick Phase, 2021, KANAL–Centre Pompidou, Brussels. Courtesy of the artist

Brussels-based artist Jean-Samuel N’Sengi is a protagonist to his own works and he often includes others to work with. As he takes from the medium of photography to roam around more dynamic and time-based formats, which ultimately take the form of interactive works, he seems to test potential dialogues with works by artists from the past. Sharing reciprocity and intimacy through encounters, expressing vulnerability, and ultimately learning of experiences of entangled socio-economic relationships and attempting at finding acceptance to their subjectivity while feeling estranged — especially in the pandemic most of us can relate to some of these, as we had been separated from one another in our private spaces for several months, if not longer. The pandemic experience has been also a moment to think through the past and it seems it has been a case of N’Sengi who searches for new possibilities to resume his endeavours. Right before Kanal (Centre Pompidou in Brussels) was closed to the public for the renovation procedure by spring 2021, the artist used this as an occasion to activate a live performance as an extension of his ongoing photographic series Lipstick phase in one of the future museum’s rooms. This invitation and collaboration with others — on this occasion with art-related peers from his circle (Charlotte Guerlus, Indigo Canullo Stefanelli, Nina Fafchamps, Alexis Monier, Cléa Massun) proves that an artwork doesn’t exist not only without one’s gaze but also nor without support, participation or hosting other artists, performers or choreographers, often those informally affiliated to each other, being encouraged out of similar interests and care. Words by Romuald Demidenko

Jean-Samuel N’Sengi @jeansamuel.nsengi Brussels 59

‘Lipstick Phase’

Subba faces

Lisa Gautama

Age 21 Zodiac sign Pisces Instagram @ida_gautama Location Ghent Subbacultcha member since this year

Tell us, what do you do in life? I’m starting my Master’s in photography. In the meantime, I have ongoing projects in BROEI. I’m writing, making books, photographing, drawing incessantly in my notebooks as if documenting time – then proudly showing all of these to my friends. What do you like best about your place? When I’m working on my books, I have the space to lay all my images, drawings, and words around, to carefully puzzle, then puzzle again, bookbinding neatly, and gather paper until it fits. I love the friendly, soft light that strolls into my room on sunny mornings as if nodding ‘Good morning’ to me, and the street lights smiling me a ‘Good night.’ Any guilty pleasures? I love to look at how people talk without noticing the words, I love to read poems aloud for the ones I love. I love the ones I love and seem to love them more and more. I love trying to disappear under a grey blanket on a grey couch and I succeed surprisingly often. I love to feel invincible, then pleasantly unimportant right after. I love to dance in my mind, and dance in my room, and dance in my words. I love to smile in empty streets and crowded squares. I love to trace the fences of my fears carefully, then suddenly jump over and cut my hair insanely short. If you could be famous, what kind of celebrity would you be? I’d love to be Gandhi one day. Being wise, warm and inevitably old, while enabling change. Who do you wanna give credits here? I’d give credits to my aunt, who’s not here to read this but who’s in every word I write and every book I make and everything I do. When I was a small and silent kid, she gave me time and care, noticing my little drawings, and encouraging me to go on. She was one of the funniest, most loving, and inspiring people I’ve known – fragilely unbeatable, carrying a beautiful mind. She would have been thrilled to read this, ecstatically calling everyone she knew. 60

COVER David Numwami, shot by Miguel Soll PRINT EDITOR IN CHIEF / CONTENT MANAGER Herlinde Raeman EDITORS Milena Maenhaut, Astrid Stubbe, Laura-Andréa Callewaert & Julien Van de Casteele INTERNS Somto Offor COPY EDITOR Megan Roberts DESIGN Chloé D’hauwe PRINTER zwartopwit – duurzaam drukwerk PARTNERS Lumière, Mu.ZEE, Museum Hof Van Busleyden-De Garage, Offscreen, Kunst Aan Zet, Paradise, Kaaitheater, Belgian Art & Design Fair, Onderstroom, Het Bos, Democrazy, Toneelhuis, Beursschouwburg, NTGent, Centrale for contemporary art, M HKA, IMAL, M Leuven, Bozar, Fashion & Lace Museum, Mubi, Fotoshop Gent, Artists United, Paypro Services, Easypost & zwartopwit – duurzaam drukwerk, Z33, deSingel, CC Mechelen, De Studio, DIVA Antwerp, HISK, Be-Part, Botanique, Design Museum Gent, Kunstencentrum Nona, C-Mine, KASK & Conservatorium / School of Arts Gent, Cultuurhuis de Warande, CIVA, Mori Film Lab DISTRIBUTION You’ll find our issues every two months in several local stores also offering member discounts, other pickup points supplied by our distributors, and in the mailboxes of our members. Find an overview at subbacultcha.be

THANKS TO Paard Van Troje, Music Mania, Shelter, La Fille d'O, Consouling Sounds, Mood Recyclestore, Warrecords, Panoply, Riot Vintage, Crevette Records, Tipi Bookshop, Balades Sonores, Art Paper Editions, Riot Vintage, Panoply, Hunting and Collecting, Bison 4, Veals & Geeks, KIOSK Radio & Bilbo OFFICE EDITOR IN CHIEF / SALES MANAGER Kasper-Jan Raeman (kasper-jan@subbacultcha.be) COMMUNITY MANAGER Mats Van Eccelpoel ONLINE COPY EDITOR Gabriela González EDITORIAL magazine@subbacultcha.be MEMBERSHIPS help.subbacultcha.be Subbacultcha Belgium, Dendermondsesteenweg 80A, 9000 Ghent, Belgium Subbacultcha.be

FREQUENTLY THE WOODS ARE PINK

19.09 — 28.11.2021

HEDENDAAGSE KUNSTCOLLECTIES IN ZUID-WESTVLAANDEREN

BE-PART, PLATFORM VOOR ACTUELE KUNST, WESTERLAAN 17, WAREGEM / WWW.BE-PART.BE DINSDAG TOT VRIJDAG: VAN 13U. TOT 17U. ZONDAG: VAN 13U. TOT 18U.