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Pedro RIBEIRO, Atelier Sésame, Bxl (B)

Des visages et des lieux - Pedro Ribeiro | Trinkhall museum

Opening night : 25.03.2022
Exhibition: 26.03 > 11.09.2022

The ground floor of the Trinkhall is dedicated to a monographic exhibition by Pedro Ribeiro, a regular at the Sésame painting workshop.

Pedro Ribeiro’s paintings submerse us into an abyss – paradoxically, on occasion very bright – and lead us to the deepest part of the characters who are dissolving into their places.

https://trinkhall.museum/votre-visite/informations-pratiques

Médiation(s)

Journée d'étude "Médiation(s)" | Université de Liège

 

« Nous n’avons en partage que du vent et de la fumée. » (M. de Montaigne)

 

L’objectif de cette journée d’étude est de reprendre, en amont et très librement, la problématique que constitue la médiation. Pour le terme de cette journée, nous n’ambitionnons ni réponse définitive ni guide des bonnes pratiques, mais nous espérons renouveler, ne serait-ce que partiellement, la manière d’appréhender la médiation.

Dans cette perspective, chacun des intervenants, depuis le lieu qui est le sien, propose une réflexion sur la définition, les formes, les enjeux, les implications ou encore sur les modalités de la médiation.

Les propositions, alliant retours d’expérience et dimensions théoriques, s’articulent autour de trois axes.

/ Raconter des histoires

Les sciences, tout comme les arts, sont en eux-mêmes des formes de médiation : ce sont des récits, des manières d’interroger, de comprendre et de se saisir du monde. Dès lors peut-on considérer tout projet de médiation comme la médiation d’une médiation. L’objectif de ces journées étant de reprendre les choses en amont, il faut somme toute interroger ce postulat initial : médier c’est toujours médier une médiation. La médiation, en son principe, n’est ni exégèse ni traduction ni interprétation ; elle est le lieu singulier de l’entremêlent des récits.

Intervenants : Claude d’Anthenaise et Lucienne Strivay

/ L’objet et ses agences

Scientifiques ou artistiques, les modes d’expression dont nous nous faisons les médiateurs reposent sur des objets. Ces objets sont, eux aussi, des formes de médiation. Si nos actions sont des opérations d’intelligibilité, elles doivent donc être définies, aussi, comme des expériences sensibles. Il importe de s’interroger : que nous font les objets ? Quelles formes d’héritage ou de mémoire s’éveillent à leur contact ? De quelles relations au monde sont-ils témoins ou vecteurs ?

Intervenants : Ralph Dekoninck et Agnès Guiderdoni (exposé à deux voix)

/ Prendre les choses par le milieu

Une pente, difficile à éviter, peut nous inciter à concevoir la médiation comme verticale. Les publics seraient en attente de données, d’informations, voire de vérités que mettraient à disposition les opérations de médiation. Pourtant, sans renoncer à son rôle de mise en partage des savoirs, la médiation peut être envisagée sur un plan horizontal, comme une manière d’être au milieu des êtres et des choses, avec les êtres et les choses.

Intervenants : Carl Havelange et Sophie Pirson

 

>>>>>>>>>>
Accueil dès 9h30
Introduction : 9h45
Conclusions : 17h

Salle des Professeurs
Université de Liège - Bât. A1
Place du XX Août
4000 Liège

 

Organisateurs : Trinkhall museum, Cultures sensibles, Réjouisciences (ULiège), Maison de la Science (ULiège)

Avec le soutien du Pôle muséal & culturel de l’Université de Liège, l’UR Traverses et le FRS-FNRS.

Michel Fourgon

Concert dans le cadre du festival Images Sonores 2022 - Michel Fourgon | Trinkhall museum

Concert intime proposé par le Centre Henri Pousseur dans le cadre de son festival Images Sonores 2022, dédié à la création musicale et la musique mixte, l'univers sonore où les sons acoustiques dialoguent avec leur extension électronique.

Le programme propose des œuvres du compositeur liégeois Michel Fourgon, avec un hommage intime à Henri Pousseur ainsi que la création mondiale de l'œuvre Carpe diem, en hommage à la vie.

 

Henri Pousseur : Pour Baudelaire (dédié à Jacques Fourgon), version pour trompette seule

Michel Fourgon, Musica aperta (Hommage à Henri Pousseur), version pour alto et électronique live

Michel Fourgon, L'eau pour soprano seule

Michel Fourgon, Musica aperta (Hommage à Henri Pousseur), version pour alto seule

Michel Fourgon, Carpe diem (Hommage à Jacques et André Fourgon), pour bugle, alto et électronique (création mondiale, commande du Centre Henri Pousseur)

Avec :
Vincent Royer, alto
Philippe Ranallo, bugle
Zoé Pireaux, voix
Centre Henri Pousseur, dispositif électronique

 

Concert gratuit - Réservation souhaitée

Delwood

Double concert de DELWOOD | Trinkhall museum

DELWOOD est un nouveau projet du collectif Honest House qui sortait le 5 novembre dernier un premier album accueilli chaleureusement par les médias spécialisés.

Delwood, c'est un univers rock indépendant unique, au songwriting léché et disruptif, et 10 morceaux pour autant de voyages dans des galaxies différentes et interdépendantes. C'est aussi un propos sur le monde, un regard sur la société au travers de textes fouillés, en anglais. Niveau références, on pensera notamment à Tortoise, Archive, Dead Man Ray ou encore Do Make Say Think. Pour la formule semi-acoustique proposée, le groupe a réécrit certaines parties de ses morceaux, rouvrant les scénarios narratifs à d'autres possibles. 

Retrouvez Delwood sur Facebook & Bandcamp

Centre Henri Pousseur - 50 ans

Concert dans le cadre du festival Images Sonores 2022 - Jean-Pierre Deleuze | Trinkhall museum

Présentation du double album réalisé dans le cadre des 50 ans du Centre Henri Pousseur, institution de référence de la création musicale à Liège depuis sa fondation par Henri Pousseur et Pierre Bartholomée en 1970.

Présentation du projet de création d'une nouvelle installation sonore pour le Trinkhall Museum par le compositeur Jean-Pierre Deleuze, en collaboration avec le Centre Henri Pousseur.

 

Jean-Pierre Deleuze, Sonances de l'an levant pour violon et électronique

Henri Pousseur, Ex Dei in Machinam Memoria pour flûte et électronique

Avec :
Wibert Aerts, violon
Toon Fret, flûte
Centre Henri Pousseur, dispositif électronique

Concert gratuit - Réservation souhaitée

Tout sur le Festival Images Sonores 2022

 

© Dominique Houcmant

3 visages - Pre-opening of the "Pays de danses" festival


Friday 21 January 2022 at 8pm

Ayelen Parolin, Louise Vanneste and Thomas Hauert are choreographers from the Wallonia-Brussels Federation who are being hosted as part as in-house artists at the Théâtre de Liège between 2018 and 2022. In order to celebrate the end of this partnership through movement, the Pays de Danses Festival is offering the three artists carte blanche at the Trinkhall Museum for a dialogue between dance and plastic arts.

The title, 3 visages, in reference to the ‘Visages/Frontières

exhibition presented at the Trinkhall Museum, which inspired the three choreographers.

Tickets

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After training in classical dance, Louise Vanneste took a new direction towards contemporary dance, studying at P.A.R.T.S. A grant from the SPES Foundation (BE) allowed her then to continue her training in New York, notably within the Trisha Brown Dance Company. Since returning to Europe, she has worked on choreographies, favouring collaborations with artists from disciplines other than dance. She created her first group piece Sie kommen in 2008, followed by the solo HOME, the trio Persona and lastly the duet Black Milk (Critics’ Award 2013). In 2014, she produced her first video installation Going West. Her works have been performed in Belgium and abroad (Netherlands, Estonia, Italy, Brazil, Hong Kong, France etc.) She created Gone in a heartbeat at the KVS as part of the Kunstenfestivaldesarts in 2015 and Thérians in 2017 at the Rencontres Chorégraphiques Internationales de Seine-Saint-Denis, co-produced by the IMPACT Festival. This project comprises a period of research related to her combined interest in dance and novels, which is continuing into 2019 with À travers les Aulnes. In parallel, she has been a regular contributor at ISAC (Institut Supérieur des Arts et des Chorégraphies) since September 2016. Louise Vanneste is also artistic partner at the Halles de Schaerbeek and Charleroi danse.

 

Ayelen Parolin is a Buenos Aires-born choreographer and dancer who now lives and works in Brussels. She studied at the National School of Dance and the San Martin Theatre in Buenos Aires and then in Europe took the e.x.e.r.c.e course in Montpellier. She worked as a dancer, among others, with Mathilde Monnier, Jean-François Peyret and Mossoux-Bonté. Ayelen Parolin has been producing her own work since 2004. Each of her creations is centred on a recurrent motif, building up the choreography around it. Autobiography in the solo 25.06.76, Exotic World, La Esclava, Wherever the Music Takes You, the animal dormant in each of us in Troupeau/Rebaño, femininity and group dynamics in the piece SMS and Love, and the male figure in DAVID. In her more recent creations Hérétiques, Nativos (an order from Théâtre de Liège to the Korean National Contemporary Dance Company), La Tribu and Autoctonos II, Ayelen Parolin has immersed herself in writing rigorously precise, calculated and persistent movements to talk about the social and the ritual in an abstraction that takes the body to its limits. Ayelen has been one of the 4 winners of the Pina Bausch Foundation grant in 2016. In May 2019, she will create a group performance with Carte Blanche, the Norwegian National Company of Contemporary Dance. Ayelen Parolin has created and shown her work in Europe, South America, New York and South Korea. She is also artistic partner at Charleroi danse.

 

After a career as a dancer, Swiss-born Thomas Hauert set up his own company ZOO in Brussels and has created some twenty or so shows including Cows in Space, Verosimile, Modify, Walking Oscar, Accords, You’ve Changed, From B to B, Like me more like me, a piece for young audiences Danse étoffée sur musique déguisée, MONO, the solo (sweet) (bitter) and inaudible. His latest group piece How to proceed was created at Théâtre de Liège as part of the festival Pays de Danses2018. Thomas Hauert also created the piece Hà Mais with Mozambican dancers and several pieces for P.A.R.T.S in Brussels. He produces work notably for Zurich Ballet, the Toronto Dance Theatre, Candoco Dance Company, an English company of disabled and able-bodied dancers, for the Barcelona-based collective LaBolsa and for the CCN Ballet de Lorraine. Performed on over 200 stages around the world, Thomas Hauert’s work has evolved out of his research on movement, with a particular interest in improvisation-based writing, exploring the tension between freedom and constraint, the individual and the group, order and disorder, form and formlessness. The choreographer has developed teaching methods that are now recognised the world over. He gives workshops worldwide. Thomas Hauert has been the artistic director on the contemporary dance bachelor’s course at La Manufacture in Lausanne since 2013.

https://shop.utick.be/?pos=THEATREDELIEGE

Pierre de Peet, pastel sec sur papier. Atelier Créahm-Bruxelles (B). Collection Trinkhall museum

La fabrique des images - Pierre De Peet | Trinkhall museum

Opening night: 23.09.2021
Exhibition: 24.09.2021 > 6.03.2022

Pierre De Peet (Anderlecht, 1929 – Oudergem, 2019) is one of the Créahm workshops’ leading artists. He regularly spent time in the Brussels workshop for almost thirty years, from 1990 until his death in August 2019. Coming from a relatively modest background, his fragile health meant that school was inaccessible to him. He helped out in the fields, as he explains in his autobiography – “digging up beetroot with a spade and, afterwards, a farmer would collect them with a horse and cart” – and then joined his brother in the family baker’s, where he worked as a labourer for several years. In 1988, he was taken in by “Les Chataîgnes” shelter in Woluwe-Saint-Pierre. He lived there for the rest of his days. In August 1990, at the age of 60, he joined the Brussels Créahm workshops. There he gradually developed a very intense Fine Art body of work, including drawings, paintings and etchings. Perfectly sound strokes, intelligent use of colour, narrative direction and standout poetry are the main elements of a pictorial language which often displays the most tragic dimensions and continually speaks to you in a soft and tender way seen nowhere else.

Every image has a model from which he takes his inspiration, resources and mediums. Every image is genealogical. During the last thirty years of his life, Pierre De Peet leafed through magazines and art books, trundling through scattered images, emotions and events, weaving his way through a selective chronical of life in its current state, for better and sometimes, for worse, people and bodies grasping the simplicity of existence, like a mirror image of our own pain and hopes. Such is the incomparable power of these images: the different way in which they are executed - still taking great pains to be meticulously faithful with absolute respect for their models - is not down to just simple movement of the creation or some kind of heavy-handedness, it is well-developed, successful and, at the same time, ascetic. It the image of the model, the unbelievable transformation of representation, his flight, his transfiguration, his freedom recaptured by the operation of his extremely fastidious gesture of replication.

Today, Pierre De Peet’s accomplished body of work is a wonderful illustration, a book of hours of visual emotions patiently, modestly and wilfully assembled by the artist at his work desk. He is inhabited by grace, the pure joy of drawing and colour, thus he has a view of the world which is both uncompromising and extremely gracious. But is it a view in the sense that the word view usually means a way of reading, of perception or interpretation? It is more of a manner of existence: Pierre De Peet (thankfully!) does not give away anything to read or understand. In his hut, without words, without science, even without any form of intention, he achieves the silent inadequacy of Simplicity which gives rise to the power of rebellion like a wave, from its origins and the entire history of Western mysticism.

 

https://trinkhall.museum/fr/votre-visite/informations-pratiques

Pascal Tassini - © Muriel Thies - Trinkhall museum

Emportés par la foule... - Pascal Tassini | Trinkhall museum

Opening night: 23.09.2021
Exhibition: 24.09.2021 > 6.03.2022

After over a year of silence, the crowds are back. In airports, at stadium exits, in shopping malls. Crowds of expressions and bodies inflamed by the same emotion. Will life ever be normal again? Do we already yearn for silence? What forges the everyday experience of our dreams? What is the meaning of the word “enthusiasm”? What common desires drive us? What tramples on the feet of the crowds in which we find ourselves? What are we crushing? What is the state of our expectation? Of our despondency? We have many crowds gathered in our memories. The crowds of tortured bodies in concentration camps and jubilant crowds on Liberation Day. Crowds are multiple experiences of loneliness. They express the privilege and distress of existence, the pleasure and the pain. We are one and we are multiple. A crowd is always grieving, even over its next separation. We are deserted and we are part of a crowd; we are the silent voices of the age-old crowds in which we gather.

Today, Pascal Tassini’s statues are out in their crowds at the Trinkhall Museum; multiple examples of loneliness gazing at us in silence and most intimately refracting our modest, relentless transformations.

Pascal Tassini (Ans (B), 1955) spent time at the Créahm workshops for more than twenty years, from 1966 to 2018. He developed an extraordinarily rich polymorphous style – drawings, paintings, terra cotta sculptures and bunches of knotted material for which he is now famous, relentlessly cobbling together shapes, substances, existence. This is an example of constantly moving art, relatively indifferent of its results. Tassini is a forager and creates wonders out of fragments he finds here, there and everywhere, scattered amidst the chaos of the workshop – a combination of impatience and reliability in the ad libitum repetition of the same movements and traditions. Art is all-absorbing. You arrive in the morning, leave in the evening, and, so it continues; day after day, week after week, year after year. The key to happiness. Pascal Tassini is an expert in existence. Should he take up residence? Inside the workshop, we will build a hut where he can keep his belongings and accommodate his friends, or also accommodate his patients in the role of healer. Doctor Tassini is at the centre of a world that has slipped out of his hands. Should you get married? Yes, of course. Because love is the be-all and end-all of any fulfilled life. So, you’ll make wedding dresses, headdresses, tiaras, formal suits. You’ll put flowers in your buttonhole, you’ll wear splendid attire, write love letters, exchange rings. You will be the groom and you’ll go to the bride and, soon, you’ll be holding her hand and then kissing her. Existence is so sweet and separation so sad! But, fortunately, your friends are there, modelled out of clay. The crowd of friends, multiplied by the infinite gesture that creates them, the movement of fingers and the handprint left on the ground, giving them their movement, their life, their depth, their texture, their brightness, their story. They just need to be placed on the shelves in the hut or carefully arranged in drawers and boxes. The statues are mostly small in size. There are enough resources in the workshop to make them. Pascal Tassini’s Stics have taken up space there for years. But sometimes, the statues are enormous. So then, we will bake them in a purpose-built oven between the museum and the bandstand in the Parc d’Avroy. It will be a festive occasion, like in the past and the present, according to all traditions; a bonfire lit long before night time, a joyous installation without memory or restriction; tumbling flames and a glimpse of silhouettes. Life is so beautiful and art is so pointless! Pascal Tassini’s statues are both so similar and so different. They are constantly moving, advancing through the crowd and they carry us away most brilliantly from the condition of existence.

https://trinkhall.museum/fr/votre-visite/informations-pratiques

Ronny Mackenzie, pastel, fusain et crayon sur papier, avant 1998. Atelier : Project Ability, Glasgow, Écosse (GB).

Faces/borders - at the Trinkhall Museum


Exhibition : until 6.03.2022

 

The first season of the Trinkhall is devoted to the theme of the face. The collection offers an extraordinarily diverse and deeply moving illustration of this - as if, for forty years now, the very question of identity has been freely unfolding within the refuge of workshops. The images and sculptures in the collection seem to travel through the entire history of Art, haunted, from its origins to the present day, by the portrayal of faces. Yet the exhibition does not depict the face in its absolute or most commonly celebrated form, but focuses more on its full interrogative range. The faces in the collection transcend the boundaries of identity. They fade away, split, tear apart, interlock or multiply. They are one of many elements, witnessing fragile and fragmented, anxious or jubilant existences, carried away in the perpetual movement of their own environments. What is a face? What is being yourself? At the heart of the museum, the faces in the collection - by Inès Andouche, Antonio Brizzolari, Mawuena Kattah, Pascale Vincke and many others - interact with an overmodelled skull from New Guinea - Papua New Guinea - a Rembrandt self-portrait, a DIY figure by Louis Pons, lithographs by Bengt Lindström or James Ensor… We have also invited contemporary artists who use images to address the issues raised by the faces in the collection. Thomas Chable, Hélène Tilman, Anne de Gelas, Dany Danino and Yvon Vandycke all take part in the museum's collection, each submitting pieces that relay the theme of the face. Finally, exhibits from the Créahm, specially designed and produced for the museum opening, are very much in keeping with our continually thriving art workshop approach. The Face/Borders exhibition is something of a device enabling us to feel, experience and ponder the dizzying heights of identity.

“While lying on the tall, heavy, terrestrial grass, have you ever considered the clouds whirling by? Plump ghosts or, higher up, sails stretching out into a smile… The sky is populated; populated by floating faces, multiplying. Initially dispersed, but rapidly in abundance and still emerging vividly and undulating.

Not all of them are identical, but they are alike. They are forward-facing, mobile, unpredictable, exuberant, lacking in depth, body and colour. They are crowding one another. They appear to come from an active, anarchic generation which proliferates and engulfs. The sky is populated by faces silently shaping solitude.” (Lucienne Strivay)

https://trinkhall.museum/fr/votre-visite/informations-pratiques

Yvon Vandycke, Good Night People, huile et acrylique sur papier marouflé sur bois. Collection privée

V comme visages, V comme Vandycke | La Boverie

Opening night: 9 SEPTEMBER 2021
Exhibition: 10 SEPTEMBER > 21 NOVEMBER 2021

Yvon Vandycke is an expressionist painter from Mons. 2020 marked the twentieth anniversary of his death. This was the ideal occasion for us to acknowledge his little-known work by organising an extensive retrospective exhibition at the Boverie Museum, in harmony with the Trinkhall’s Faces/Borders theme. In Vandycke’s work, the condition of the body is a running theme in his writing, painting, etching and drawing. The face has a curious relationship with unrest, rebellion, fraternity and the splendour of the body. The border comes first: he reveals and he hides. He also blinds you with women’s bodies, headless women, women depicted from behind, sometimes to the point of disappearance. Or, on the other hand, he contaminates every form, sliding eyes into the folds of a stomach, on a haunted background, depicting dreams.

Yvon Vandycke, Good Night People, painting, oil and acrylic on paper mounted on wood,
Private collection.

Good Night People!  Vandycke presented us with this huge face drowning in its own reflection at the end of the 20th century when he passed away. Representing decades of bloodshed in mass graves, this is a violent Vandycke facing a troubled world. It is amazingly relevant. It has all the power of expressionism and colours that wipe out any reluctances searching for distraction. The painting is a testament; its aim is not to please you. You have to accept that you are looking right at yourself. As Oppenheimer would point out, “See yourself from the inside as responsible and, from the outside, as ridiculous.”

However, Vandycke could also hold on to his tenderness. In the heart of the workshop… 

The joint Boverie/Trinkhall exhibition will show key pieces from the 60s and 70s, but also some from the 80s and 90s that are haunted by wild transformation, the inevitable movement of vibrant life in women’s bodies. Some smaller formats and incomplete works will be included. For Vandycke, a picture has no ending or beginning; drawing and paintings move together, each flowing from the other: it is a shared existence. To the say the very least…

https://www.laboverie.com/

Alain Meert, s.t., acrylique, 271 x 170 cm. Atelier Créahm région wallonne, Liège (B). Collection Trinkhall museum

"Sans titre" | 9ème Biennale Hors Normes, Lyon (F)

Opening night: 8 September 2021
Exhibition: 9 september > 31 October 2021

 

The Untitled exhibition project began during the Coronavirus period, through enthusiastic virtual conversations between Lyon and Liège and between BHN and the Trinkhall, about survival and collaboration. What are we being deprived of? Places where we are no longer allowed to go? But the lockdown to which we have been so cruelly reduced encourages us to rethink the original concept of boundaries, which evokes both limitations and freedom. The verb “to exist” indicates the act of projecting yourself outside your being, out of the place where you are simply standing. Existence is a spatial experience. It implies being anchored down, but also flying away: the movement of an arrow and its indeterminate target! What we call “art” is no different to this. We see the workshop as a privileged laboratory, the place of shared experience where, slowly and silently, the flights, fireflies and dragonflies of our dreams are created. The workshop is the place we have chosen that allows us to reflect on and feel the artistic condition even beyond its walls. Workshops across the world transform the vulnerability they accommodate into power.

The Trinkhall houses over three thousand pieces all created by vulnerable people in a workshop context. The works come from all over the world and have been patiently collected over the last forty years. We watch over them like a lighthouse illuminating our existential worries and hopes. Our collection has now been expanded by the work of five artists from the Walloon region Créahm (Creativity and learning disability) all selected by the Trinkhall. Five very key artists in the Créahm’s history: Together and individually, for over thirty years, they have conveyed the expressive power of fragile worlds. Anny Servais, Patrick Hanocq, Pascal Tassini, Alain Meert and Michel Petiniot, like most of the workshop creators, do not assign titles to their work. Are they indifferent to what they may become? Is it because they themselves have no title or conventional standards, as if they are unimpeded by the need to please or by the burden of being themselves? Is being like this, working hour after hour, day after day, year after year, their heart’s beating from the act of existing, why they speak of both freedom and asceticism? Under the headline Untitled, the Trinkhall is heading for Lyon!

(The Untitled exhibition will also be shown at the Trinkhall Museum in spring, 2022)

https://www.art-horslesnormes.org

Jean-Michel Wuilbeaux, Le moral en arc de cercle, 2007, painting on canvas, Paul Duhem Foundation Collection.

À tout n’a rien gagner, Jean-Michel Wuilbeaux - at the Trinkhall Museum

Born in Valenciennes in 1968, Jean-Michel Wuilbeaux has been attending the Pommeraie (Beloeil) workshop since 1990 where he has been developing an exceptionally dense piece, painted, but also written, on canvas or loose sheets of paper. Jean-Michel Wuilbeaux's paintings, drawings and words run free among consciences and preconceived ideas. The museum’s first monographic exhibition is dedicated to him, in close collaboration with the Paul Duhem Foundation (www.fondationpaulduhem.eu) and Bruno Gérard, head of the Plastic Arts workshop at the Pommeraie.

https://trinkhall.museum/fr/votre-visite/informations-pratiques

Jean-Michel Wuilbeaux, Garde rire au poste, 2017. Atelier : La Pommeraie, Ellignies-Ste-Anne (B), Fondation Paul Duhem.

WUILBEAUX ORATORIO - Thierry Devillers (voix) / Steve Houben (saxophone) / Stephan Pougin (percussions)

La relation entre les images et les mots est omniprésente dans l’œuvre de Jean-Michel Wuilbeaux, l’invention des mots déposés sur la toile qui creusent et révèlent au plus vif le désordre de voir, la jubilation de peindre, sa nécessité, sa violence, sa souffrance et sa joie. De janvier à avril 2017, Wuilbeaux peint une dernière toile, Garde rire au poste, qui revêt aujourd’hui, pour l’œuvre désormais aboutie, une valeur quasi testamentaire. En même temps, dans l’urgence et la difficulté de peindre, il déploie en plus de soixante feuillets un texte d’une extraordinaire puissance, à la fois le soutien et l’envol de la peinture. La poésie de Jean-Michel Wuilbeaux, donnée à entendre pour la première fois dans cet oratorio, court sous la peau, accompagne et mystérieusement déroute l’insatiable désir d’exister, celui de Wuilbeaux et tout aussi bien le nôtre.

Film réalisé à cette accasion par Gaetan Lino : https://vimeo.com/611596932

Fête de la musique 2021

Promenade musicale | Trinkhall museum

Lors de ce "concert promenade" donné au sein du Trinkhall Museum, huit jeunes compositrices et compositeurs issus de la Classe de composition de Michel Fourgon (Conservatoire Royal de Liège) présenteront de courtes créations inspirées par une sélection d’oeuvres exposées dans le musée.
Celles-ci seront interprétées par des étudiantes et des étudiants du Conservatoire.
Chaque composition sera donnée devant, au sein, ou autour des oeuvres plastiques qui les ont fait naître.
Les compositeurs commenteront brièvement les liens, les résonances qui ont présidé à l'aboutissement de leur création.
Le public sera invité à se promener et à emprunter un parcours poétique initié par les musiciens.

Vibrations libres, en correspondance. Et les sons tourneront aussi dans un espace... magique!

 

Réservation souhaitée

www.fetedelamusiqueliege.be

Francisco GOYA (1746-1828) Alla va eso, 1799. Collection: Wittert Museum.

The Ancestors' Room - at the Wittert Museum


UNTIL APRIL 17, 2021

Certain indigenous people, in Africa or elsewhere, have a space reserved for meeting their ancestors. People go there to pay tribute to their values, converse with them and take their advice. This exhibition is built around this meeting. The Wittert Museum collections are revisited as though looking over the shoulder of the painter and poet Yvon Vandycke who will have a major exhibition dedicated to him at La Boverie Museum from 10 September to 24 October, 2021. There will be portraits on display by everyone form Dürer, Ensor or Spilliaert via Rembrandt and Goya, depicting their own or other faces in an array of vanity, masks and repeated death. Critical irony and melancholy, animal fraternity, the strength of muted cries, the great laughter of life, all the things reawakened here have inhabited the thoughts and shapes, the way of being in Yvon's world.

https://www.wittert.uliege.be/cms/c_10359268/fr/musee-wittert

Vauclaire, 2016. Crédit : Hélène Tilman.

Ici le temps s’arrête - Hélène Tilman | Société Libre d’Émulation

« Ici le temps s’arrête est un projet entamé en 2013 au sein de l’hôpital psychiatrique Vauclaire en Dordogne. Les pavillons de cet hôpital ont été construits à partir de 1919 autour d'une chartreuse datant du XIVe siècle. Ce qui a été un « asile d'aliénés » porte aujourd'hui le nom de « centre hospitalier ». Un siècle de psychiatrie résonne en ses murs. Là-bas, je photographie la complexité du lieu, les patients, leurs regards, douloureux, hallucinés, ou éteints, les marques de leur maladie, leurs cicatrices. Je réfléchis à la visibilité ou l'invisibilité de ces maladies, à la difficulté de ce qu'on ne peut pas voir. A ce que l’on peut montrer, ce qui nous fait honte : les traitements, l'enfermement. Les limites sont fragiles. L’atmosphère varie entre mystique et médicale, elle est rapidement changeante, mais reste ancrée dans une temporalité à part, un espace-temps différent, parallèle au notre, au monde du dehors » (Hélène Tilman). Les installations de l’artiste, en mobilisant la photographie, le son et la vidéo, évoquent la complexité du soin de la « folie », l’enfermement, la souffrance, mais également la beauté, la force et la douceur de l’être humain.

www.emulation-liege.be

Pasteur-guerrier afar, tribu Botdomela, village d’Askoma (Hadar Woleita), Éthiopie, 2008. Crédit : Thomas Chable.

Des jours - Thomas Chable | Galerie Quai 4

Dans le cadre des événements d’ouverture du Trinkhall museum, la galerie Quai4 accueille une exposition des extraordinaires portraits réalisés par Thomas Chable en Éthiopie, depuis plus de dix ans. En déclinant encore autrement l’idée de « frontières », cette exposition s’inscrit idéalement dans le cadre général de notre thématique.

« … voilà maintenant presque un mois que tu me demandes un texte sur l’exposition que je vais présenter à la galerie quai 4 au mois de mars 2020. Encore hier, je n’ai pu m’empêcher d’aller dans les bois, trop beau le temps et puis ça nous a permis de déguster le soir, les quelques pieds-de-mouton que l’on avait cueillis. On garde les bolets pour un autre jour. Comme tu peux t’en rendre compte, tout est bon pour contourner et aller voir ailleurs, et voir ailleurs c’est encore ce que je fais de mieux. Là on approche. Il y a quelque chose à dire, mais les mots me manquent. Par contre, il y a des photographies comme celle du lac Tana, faite au petit matin, calme, qui ne dit pas qu’il est une des deux sources du grand Nil. J’y ai fait des rencontres sur le bateau, mais là aussi la photo ne le dit pas, ça n’a d’ailleurs aucune importance, ce qui est important à mes yeux, c’est ce que cette image évoque, ce qu’elle me laisse dans la voix. C’est une petite bricole qui mise bout à bout avec d’autres, finissent par faire une vie et c’est déjà une œuvre en soi. Et encore, je ne parle pas des « accidents », je ne vais quand même pas dévoiler le métier de photographe. C’est de cela dont il sera question chez Quai 4, des photographies que j’ai faites lors de quelques voyages en Éthiopie, voyages sans but prédéfini, juste le plaisir d’être là » (Thomas Chable).

www.quai4.be/galerie

Château de cartes, Polaroïd, 2019. Crédit : Anne De Gelas

Intermède (Un visage de lignes) - Anne De Gelas | La Chataigneraie

Dans le cadre des expositions partenaires du Trinkhall museum, l’artiste propose une étape de son travail en cours intitulé « Un visage de lignes » :

"Un visage de lignes … l’autoportrait court les années, reflet du temps qui passe, la vie qui creuse des sillons. L’histoire s’inscrit à même la peau, l’autoportrait raconte.

Un intermède, la maladie.

Apparaissent dans le travail les autres, les amis, la famille. Portraits de ceux qui entourent lorsque le corps lâche, que le miroir se fissure. La reconstruction peut se faire dans les yeux des proches aimants. En eux, se retrouver peu à peu.

Dans ce moment de fragilité, le désir renaît de porter un regard attentif sur de petites choses, souvenirs et objets du quotidien, des miettes éparpillées dans l’appartement. Les poser, les assembler, les photographier, prendre le temps de la convalescence et… continuer " (Anne De Gelas).

www.CWAC.be