Stardust November 2017
s u b b a c u l t c h a e v e n t s in November All events are free for members. Join at subbacultcha.be
8.11 FAKA + Kim Berly In De Ruimte, Ghent
— 3.12 Dan Oki — The Last Super 8 Film Argos, Brussels
8.11 Moon Duo Eden, Charleroi
11.11 Una mujer fantástica Cinema Zuid, Antwerp
10.11 Bozar Night ft. Ellen Allien + Paula Temple + DC Salas + more Bozar, Brussels
24.11 Game of Death Cinematek, Brussels
10.11 S P O I L E R R O O M vol 4 Recyclart, Brussels
18.11 NEXT Festival presents: Sacrifice Budascoop, Kortrijk
10.11 Homeland x All_Black with DJ J Heat Sunset Club, Brussels
24 .11 Slow #03 KVS, Brussels
11.11 Meakusma Europalia Kulturzentrum Alter Schlachthof, Eupen
28.11 Craigslist Allstars Campo, Ghent 29.11 Florentina Holziger STUK, Leuven
12.11 Schiev Festival Beursschouwburg, Brussels
30.11 Mathias Ringgenberg STUK, Leuven
14.11 Kid Congo and The Pink Monkey Birds Madame Moustache, Brussels
17.11 Sapphire Slows + Million Brazilians + DJ Spencer Clark Het Bos, Antwerp
— 5.11 Herman Byrd BPS22, Charleroi
18.11 Asphalt with Elena Colombi + Makam (Democrazy), Ghent
— 17.12 For A Time Light Must Be Called Darkness Argos, Brussels
23.11 Avlas + Sendai STUK, Leuven
— 7.01 Riding Modern Art BPS22, Charleroi
24.11 The Shovels + The Kliko’s + The Tubs Nest (Purple Panda), Ghent 25.11 TOPS Nest, Ghent
18.11 – Thomas Mazzarella – Que serà 7.01 BPS22, Charleroi
28.11 Shopping KulturA (JauneOrange), Liège
18.11 – Mon Colonel & Spit – 7.01 Lepidoptera BPS22, Charleroi
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Stardust Avoiding the trappings of the contrived ‘15 minutes’ comment in our current Insta-fame climate, there is definitely some enticement in the gleam of the spotlight and its many incarnations. It can be found in the visions of palm trees and glittery smog which indulge the California dreaming that, as some will attest, brings about a fascinating weirdness that never makes you feel quite at home. It’s in discoballed decadence, in schmaltzy venues and low-key (or low-cut) outfits that share names with smutty cocktails. It’s in the stride of the bold and the beautiful, the wobbly knees atop platform heels, and in the slow dance under the stars into oblivion. 5
BOSBAR:. wo-za 12-00u, zo 9u-16u BOSKEUKEN:. elke donderdag & vrijdag vanaf 19u
OTARK. BREAKFASTCLUB:. ontbijt op zondag 9u-15u CLOSET OF RECORDS:. avondwinkel elke donderdag 18u-22u in de Bosbar
BOSLABS,. artistiek labo voor jongeren: elke woensdag 13:30u-16u + elke zondag 10-14u: Borduren op vlaggen met Klaas Rommelaere! www.boslabs.be
HET BOS. Ankerrui 5/7 2000 Antwerpen www.hetbos.be
NOVEMBER IN HET BOS Donderdag 2, 20u. PRIESTS (us) + TONSTARTSSBANDHT (us)
Vrijdag 17, 21u SAPPHIRE SLOWS (jp) Vrijdag 3, 20u. + MILLION BRAZILIANS (us) SHY DOG Album Release + DJ Spencer Clark + JOASIHNO (de)
ism Kraak Zaterdag 4, 15u. The Gathering Of Trans-Medial Publishers (platenmarkt+concerten) NUSLUX (fi) + NYOUKIS / VERBIESEN (uk/nl) + OLLI AARNI (fi) + OPERA MORT (fr) + MIAUX (be) + SOURDURE (fr) + ASTOR (au) + JACQUES BELOEIL (fr) + OGON BATTO (be) + CELINE GILLAIN (fr) + DJ Risiko Press + Sasha & Tobias
Zaterdag 18, 20u ism Hotsjumenas TOGETHER PANGEA (us) + LOOKAPONY (nl) Zondag 19, 12u DE VRIJE MARKT KUNSTENDAG VOOR KINDEREN Donderdag 23, 21u NAG & LEFTO PRESENTEREN CIRKELS EP RELEASE PARTY
Woensdag 8, 20u. BIG ‡ BRAVE (us) Vrijdag 24, 21u + THE WORLD (us) THECOLORGREY + 30,000 MONKEES
Zaterdag 25, 19u Donderdag 9, 19u30. 20 JAAR ULTRA ECZEMA: BARK Album Release STILLUPPSTEYPA (is) + GABI LOSONCY (vs) + SISTERS OF SUFFOCATION (nl) + ELKO B. + THOMAS GEIGER (at) + INTERSTELLAR DEATHROLL + VAAST COLSON + METTE RASMUSSEN (dk) + EVELIN BROSI + DAVID SHERRY (ir) Vrijdag 10, 20u. + STILL HOUSE PLANTS (uk) LARAAJI (us) + PEET & DE TEEFJES (nl) + CARLOS NINO (vs) + DJ’s Daniel De Wereldvermaarde Botanicus, + BLACK ZONE MYTH CHANT (fr) Nico Vegas & Benny Bang + DJ D.Edren Woensdag 29, 20u ism Footjuice Art Zaterdag 11, 21u. SHOPPING (uk) LUKE VIBERT (uk) + NUMEN + FORNET Park Festival Showcase Donderdag 30, 20u ism Oorstof Woensdag 15, 20u. CITIES AVIV (us) FROM WOLVES TO WHALES (us, fr) = Dave Rempis, Nate Wooley, Pascal Niggenkemper, Chris Corsano
subbacultcha events 9—17 DC Salas 18—23 TOPS 24—29 Elena Colombi 30—35 artist 36—41 style 42—45 book 46—47 recent finds 48—59 we visit you 60—61
DEMOCRAZY MUZIEKCLUB GENT 03.11
AMY SHARK + LUWTEN
BOSS HOG (W/ JOHN SPENCER) + THE SPECTORS
ALL EYES ON HIP HOP PRESENTS: ODDISEE & GOOD COMPNY FT. OLIVIER ST LOUIS
JESCA HOOP + BRIANA MARELA
NOBODY (WILLIS EARL BEAL) + VI.BE SUPPORT
EQUAL IDIOTS + THE VERY VERY DANGER
WARHAUS + FACES ON TV
ASPHALT: MAKAM, ELENA COLOMBI
LEFTO & RED BULL ELEKTROPEDIA PRESENT: BENJI B, CHRISTIAN RICH, PHOTAY, ALIA
ERIKSSON DELCROIX & SUN*SUN*SUN ORKESTRA
HET ZESDE METAAL
TSAR B + TIN FINGERS
WARHOLA + GLINTS
FELIX PALLAS + LE MANOU
HIDDEN ORCHESTRA + MOODPRINT
KAPITAN KORSAKOV, BRUTUS, COCAINE PISS + AFTERPARTY
MINARD NEST NEST VOORUIT VOORUIT MAALTEBRUGGEKASTEEL NEST KOMPASS NEST VOORUIT NEST
The resulting dish sounds similar to legendary bands such as Silver Apples, Suicide and Spacemen 3. Inspired by the cycling of the seasons and the journey of the day into the night, their music is bound to bring you into contact with all your chakras. Local band Unik Ubik takes care of the starter.
FAKA + Kim Berly
Bozar Night ft. Ellen Allien + Paula Temple + DC Salas + more
8 Nov – In De Ruimte, Ghent 20.00 – free for members and their +1 This evening features two very danceable artists. First up: Faka, which is two individuals, Fela Gucci and Desire Marea, with a message: a queer South African performance art duo that addresses the issues of the young black queer body. Their mesmerising music brings together the weird jungle in which The Residents also happen to reside on the weekends with insanely danceable vogue and Afro electronic beats from big cities. Kim Berly — Sheniqua World Tour no more :( — completes the evening making you drop and duck walk all through one of the coolest spaces in Ghent.
10 Nov – Bozar, Brussels midnight – €10 – free for members BOZAR never deceives, or so it seems. This month, in the context of Europalia Arts Festival, the venue will host special guests for a night dedicated to Indonesia. You’ll be able to dance to the beats of some major figures of the European electronic scene like Ellen Allien or Paula Temple, as well as discover other Indonesian artists like pioneer Otto Sidharta or newcomer DJ Bea. If you tire of the different DJ sets, four different exhibitions will be on view.
Moon Duo 8 Nov – Eden, Charleroi 20.00 – €15 – free for members From the shining city by the Bay comes this pair of psychedelic rockers. On their latest album, Occult Architecture, Moon Duo once again sprinkles their krautrock with a garnish of electronics and drones.
SPOILERROOM vol 4
If you’re fan of Jersey Club music, you probably already know what DJ J Heat is about. With his debut EP Jersey Transit Systems released on Night Slugs, this prolific producer attracted a lot of attention. He will be showing his skills on 10 November at the Sunset Club, on the occasion of an evening curated by Homeland and All_Black. If you’re still wondering whether you should go, the rest of the line-up should definitely convince you: Trime, Young Luxenberg as well as the newcomer Gold Saucer.
10 Nov – Recyclart, Brussels 20.30 – € 9 – free for members If you’re one of those Eighties-born kids who nostalgically look back at Nineties R&B, you’re in for a treat tonight. The fourth Spoiler round will be packed with international and local badass women reminding us of Lil’ Kim, Gwen Stefani, Aaliyah and other Nineties heroines. Enjoy creamy beats and lines from Argentina-based madrileña Nathy Peluso, Japan-infused poppy electronic tunes by Golin, wavy R&B by the Juicy crew cats and Blu Samu’s soulful melancholy. Organised by Zwangere G.
Homeland x All_Black with DJ J Heat 10 Nov – Sunset Club, Brussels 23.00 – €7 free for members before 1am
11 Nov – Kulturzentrum Alter Schlachthof, Eupen 20.00 – €15 – free for members The Alter Schlachthof in Eupen totally slays with their line-up for Meakusma Europalia. Senyawa, a duo from Yogyakarta, Java transforms traditional Javanese music by injecting it with a serious dose of punk and avant-garde experimentation. Singer Rully Shabara screams and mumbles and pants over the sounds of the self-built instruments of second man Wukir Suryadi. More vocal acrobatics come from the throats of Patshiva Cie, a 25-member polyphonic choir from Brussels led by Dounia Depoorter and choreographer Fatou Traoré.
as a former member of The Cramps, Nick Cave and the Bad Seeds and The Gun Club. Together, he and his Birds create an entire and uncompromising world, where seedy go-go weirdness is elevated to high art. On their two albums, Dracula Boots and Gorilla Rose, psychedelic imagery stands shoulder to shoulder with southern soul and ‘60s Chicano rock, creating an unique blend of soul-fired, funked-up rock’n’roll.
12 Nov – Beursschouwburg, Brussels 16.00 – €7 – free for members
Sapphire Slows + Million Brazilians + DJ Spencer Clark
Trivia time: Schiev is a Brussels word that means distorted, crooked, inclined. Apart from being used to curse at clumsy architects, it’s also now used to refer to the annual festival of avant-garde pop music taking place in Brussels. On the closing day, music freaks will be blessed with the presence of Swedish ambient industrial producer Jonas Rönnberg aka Varg, but also Belgian tropical soundscapes composer Lieven Martens Moana, Danish techno DJ Mama Snake, and Belgians Céline Gillain from Lexi Disques and Elko B from Ekster.
17 Nov – Het Bos, Antwerp 21.00 – €8 – free for members One from the east, one from the west. Two bands from two (not four) corners of the world are brought together in Het Bos, Antwerp. Sapphire Slows is a Japanese producer not unknown to Not Not Fun/ 100% Silk fans. Her eerie vocals that wrap around slo-mo drones have made her a staple of the Tokyo electronic scene. Not from Brazil and only two people make up Million Brazilians. This duo from Portland produces exotica avant-garde mystical music that is impossible to classify.
Kid Congo and The Pink Monkey Birds 14 Nov – Madame Moustache, Brussels 20.00 – €8 – free for members The Pink Monkey Birds is the brainchild of Brian Tristan, alias Kid Congo, who certainly earned his rock stripes
Asphalt with Elena Colombi + Makam
The Shovels + The Kliko’s + The Tubs
18 Nov – (Democrazy), Ghent 23.00 – €12 – free for members Elena Colombi is a promising Londonbased DJ and host on NTS Radio with a name that’s already well-known in the underground scene. She mixes everything she finds in the dark that is, was and will be great. Her DJ sets take you on a journey through continents and genres, from jungle percussion over David Lynch-like scenery straight to pulsing beats in a sweaty club. You’ll definitely love it all, but you’ll also feel like a nitwit trying to subtly Shazam all the beauty she throws at you.
24 Nov – Nest (Purple Panda), Ghent 20.00 – €7 – free for members Named DAD ROCK NIGHT for a reason, this party is bound to resonate with more than your run of the mill paternal figure. With the Syd Barrett-infused melodies of The Shovels, the Nederbeat haziness of The Kliko’s and lo-fi americana of The Tubs, prepare yourself for a night of unlived nostalgia as these bands take you back to a time — and a state of mind — of someone else’s youth. A good night for father-child bonding, or any type of bonding altogether.
Avlas + Sendai 23 Nov – STUK, Leuven 20.00 – €14 – free for members Jeroen Uyttendaele (Alvas) and Sendai (Yves De Mey and Peter Van Hoesen): two acts with different fields of work; Avlas is a self-built instrument that connects sound and image while Jeroen Uyttendaele works mostly with sound and its relation to light, space and materiality. Expect a performance combining sound art with experimental pop, producing a harmonious sound.
TOPS 25 Nov – Nest, Ghent 20.00 – free for members and their +1 Heads up friends! The Montreal quartet is back in Ghent after almost three full years! Back to Belgium with a third album, Sugar at the Gate, in which they tone down the pop for more psychedelia and lyrics density. Fans of Tender
Opposites and Picture You Staring will still however find the classic Tops elements that caught their attention.
Shopping 28 Nov – KulturA (JauneOrange), Liège 20.00 – €7 – free for members
with his latest work, The Last Super 8 Film. A compilation of 30 years’ worth of material, both the content and the form shift as the filmmaker goes from puberty to adulthood, always with his trusty Super 8 in hand. A meditation on consciousness, memory and the loss thereof, reminding us of the irretrievability of moments past and of the precious powerlessness of nostalgia.
Shopping is back this year with their first new song since their 2015 LP Why Choose. It is called ‘The Hype’, and — thank God — the freshness of the trio is still intact. Besides having collected good reviews for their studio albums, this post-punk band from Londonhas a solid live reputation too. Meet us there to rock out to smart and catchy tracks.
Una mujer fantástica
Dan Oki — The Last Super 8 Film
until 3 Dec – Argos, Brussels 11.00 – 18.00 – €6 – free for members Croatian artist Dan Oki (born Slobodan Jokić) brings a different sort of memoir
11 Nov – Cinema Zuid, Antwerp 18.00 – €5– free for members Following the sudden death of her lover Orlando, Marina finds herself not only ostracised by his family, but also under suspicion by the authorities over his passing — all because she is a transexual woman. The portrait of a wilful, talented and, yes, fantastic woman whose identity makes her a contentious figure in the Chilean society that still oppresses those like her, as well as strong cipher of resistance to hold in admiration for those of us who believe in a person’s worth above all else.
Game of Death
Sacrifice is a four-part ritual minifestival about art and religion, full of visual art, pop music, theatre and dance. Icelandic couple Erna Ómarsdóttir and Valdimar Jóhansson examined the disturbed relationship between art and religion and concluded that both thrive on rituals. They invite three visual artists to design new rituals together, meant for all religions and ethnic backgrounds.
24 Nov – Cinematek, Brussels 19.00 – €6 – free for members Packing the punch in a rather literal way, this Bruce Lee creation would ironically bring about his own demise. The story behind the film is perhaps more interesting than the film itself, as Lee died during production and the movie was shelved for five years until it was completed using portions of the original 1972 cut, with a completely different plot involving a martial arts movie star who fakes his own death and seeks revenge on the mobsters that deformed him. The 1978 version is an action-packed romp, where part of the fun is figuring out the devices used to bring Lee back from the dead. of childhood leaves you for ever. theatre/dance
NEXT Festival presents: Sacrifice 18 Nov – Budascoop, Kortrijk 15.00 – €19 – free for members
24 Nov – KVS, Brussels 20.30 – €17 – free for members SLOW (Slam Our World) wants to bring street art treasures to the stage and into the spotlight by fusing urban expression and theatre. An international guest is invited for each session. This time a slam poet from Kinshasa will be invited for the third edition. Together with local artists, she’ll try to capture the colourful and diverse soul of Brussels in her verses after a short residence in the heart of the city.
Craigslist Allstars 28 Nov – Campo, Ghent 20.30 – €10 – free for members
the latter. Caught between high art and fast entertainment, there is much to see and much to say here regarding ideas of femininity, utopianism, sexuality and the cult of the body through the ages.
Finnish performance artist Samira Elagoz comes armed with her camera and takes you on an expedition to online platforms like Tinder, complemented with live encounters, shedding light on the online manipulation of bodies, while cleverly subverting typical gender dynamics on the internet.
29 Nov – STUK, Leuven 20.30 – €12 – free for members A true lover of all physical disciplines and their applications in an artistic context, Austrian dancer Florentina Holzinger comes to us with a unique experience that essentially questions the idea of the perfect woman. With Apollon Musagèe, ballet is combined with martial arts, acrobatics and weightlifting to deliver the story of Apollon and his muses, the downfall of the former and the ironic elevation of
30 Nov – STUK, Leuven 21.00 – €10 – free for members For several years Mathias Ringgenberg has explored via the alter ego PRICE the mechanisms of mainstream pop and experiment with musical and performative formats. The multidisciplinary work mutates continuously and offers different experiences through its varying contexts, from globalisation, neoliberalism and the increasingly central role of the internet. PRICE’s project at STUK is formatted as a classical theatre set-up fusing a pop album and a performance. Feelings of disorientation, instability, fear and struggles with love and relationships are fundamental in this piece, responding in contrast to a glamorous stardom whereby social media and visibility play an increasingly dominant role.
Herman Byrd until 5 Nov – BPS22, Charleroi 11.00-18.00 – €6 – free for members Herman Byrd, art lover, will reside at BPS22 for two months to reveal one of his latest projects. Byrd has been publishing artists’ books and collecting artwork fervently for years. He loves to experiment, play with the codes of art and define new concepts. Byrd is at the same time mysterious and intriguing and will present his latest edition exclusively under the label MAGNUM.
on the history of the places she visits. Like an archaeologist she digs in their past, their monuments, museums and archives, analysing her findings and supplementing them with her own texts and footage. In this way she creates new narratives from hidden links between imageries, correspondences and analogies, ultimately creating a tension between what is perceived and what is portrayed.
Riding Modern Art
For A Time Light Must Be Called Darkness
until 17 Dec – Argos, Brussels 11.00-18.00 – €6 – free for members That seeing is never an innocent act is the axiom central to the work of Lina Selander, one of the most important contemporary Swedish moving-image artists. During her journeys, she reflects
until 7 Jan – BPS22, Charleroi 11.00-18.00 – €6 – free for members Raphaël Zarka transforms the great hall of the museum into a skate park for Paving Space, where both skaters and visitors will get to stroll through his modern sculptures. His photographic series, Riding Modern Art, is displayed at the same time. It holds black-andwhite reproductions of photographs ripped out of skateboard magazines. Zarka wants to show the ways in which skaters can appropriate urban space through his installation and exhibition.
Thomas Mazzarella — Que serà
Mon Colonel & Spit — Lepidoptera
18 Nov-07 Jan – BPS22, Charleroi 11.00-18.00 – €6 – free for members Exhibiting for the very first time at the BPS22, Charleroi city-born artist Thomas Mazzarella will be showing his works created over the past ten years, containing a perfect blend of naivety, irony and disenchantment. The young artist’s acrylics-on-wood and oils-on-canvas each conceal a dense and complex universe that perfectly reflects our world. Mazarella manages to focus on small formats totally imaginary spaces and environments translating habits and structures of our contemporary world. Recurring themes of the artist living in Brussels now are architecture, frame, stage and motifs and this in a conceptually at the same time formally way.
#subbafam Introduce your friends & get your membership for free
18 Nov-07 Jan – BPS22, Charleroi 11.00-18.00 – €6 – free for members The artist duo Eric Bassleer, aka Mon Colonel, and Thomas Stiernon, aka Spit, showcasing at the BPS22 this month has developed over drawings and installations the expression of disruptive thinking. Produced collectively, their work consists of watercolours on paper brimming over with words, sentences and drawings drawn from their daily lives, using the same elements in their ceramics too. With Polaroid photographs they tell their everyday lives, and work as additional, less known, aspect to their work, illustrating another facet of their universe. This production reveals with casualty and humour one of the duo’s inspirations, offering a new entryway inside their minds.
DC SALAS Part social media strategist, part musician, Diego leads a double life he’s learned to balance over the years. When he’s not selling social media plans, Diego is better known as DC Salas, one of the most notorious names of the Belgian nightlife scene. DC Salas just released his first album on his own imprint, Biologic Records. It’s a record about a heartbreak — but also a new hope. We met up downtown Brussels to discuss strategies for subliminally conquering the world.
Interview by Andrea Mancini
Photos by Sasha Vernaeve shot in Hotel Metropole, 18 Brussels
â€˜Making an album was real therapy. When I finished it, I entered a new phase of thinkingâ€™
When and why did you know ‘it’s album time’? There was a moment where I had something bigger to tell through music; my label mate Harold was the first to tell me to try and make an album. The leitmotiv of the record is ‘it always gets better’. I’d been with a girl for a long time and when she left me I made an EP called When You Left. It was an intense and heartbreaking period where I was stuck and didn’t know how to move on. Making an album was real therapy. When I finished it, I entered a new phase of thinking. Do you think it’s hard to avoid trends while producing and DJ-ing? If you want to be successful in a specific moment you’ll have to follow the trend for sure, but maybe six months later you won’t be in the game any more. I prefer avoiding this and just sticking to what I like. Inspiration isn’t a bad thing, but there’s a thin line between being inspired by someone and copying them. As long as you keep your touch in what you do, it’s okay. When I made that album I listened to a lot of early Kompakt stuff and also John Talabot’s album and this inspired me; people can notice this in a way but it’s not like copying it. Being inspired by something is super healthy.
‘If you want to be successful in a specific moment you’ll have to follow the trend for sure, but maybe six months later you won’t be in the game any more.’ Is image important in underground dance music today? I think so. I’m a bit biased because my day job is social media strategist, so in that world image is daily routine. I really believe that an artist has to play with his image in a way that can be creative, so that it doesn’t smell of marketing. There are nice ways of talking about what you do; I remember a Facebook post which said, ‘Nowadays a DJ is also a promoter, a marketeer, communication manager…’ which is true — but that’s how communication changed. It’s important but needs to be used wisely. Is doing radio and running a label also a tool to get more attention? It’s part of it, I think, but it’s not why I do it — I do this because I want to share the music I support. Of course it’s also a way of gaining visibility in a cooler way than just posting stuff on a news-
feed and also a nice tool to get in contact with labels but I always want to keep it in a healthy way. It’s not opportunism.
same time when I have too much time to make music I’m not good at it.
While others decide to focus 100% on one thing you’ve decided to work in an office. Does it have an impact on your creativity? It kills me [Laughs]. I’ve managed to this since my student years. When I got my job at the office it got harder and harder; fortunately, now I got a day off during the week which helps. I’m tempted to say that it really impacts my creativity but at the
Who would you love to sign to your label? A solo EP from Kevin Parker (Tame Impala) remixed by Axel Boman. What’s your favourite karaoke song? ‘Hey Jude’ by The Beatles.
DC Salas Bozar Night 10 Nov – Bozar, Brussels free for members
TOPS TOPS’ latest and third album, Sugar at the Gate, is a subtle nod to achieving satisfaction and pleasure, but also encountering a barrier to what’s desired. If you know records numbers one and two, you’ll recognise the dreamy TOPS-y pop that made your heart swell and hips sway when you first heard it. But you’ll also feel more pronounced tremors of strange psychedelia and live show exuberance, and a lyrical confidence of self-expression that’s come into its own. We rang Jane Penny, TOPS’s vocalist, at her home back in Montreal after having spent a full year in LA. Spacey electronic music gently bleep-beepbops in the background as Jane occasionally giggles in between answers about where their Californian adventure has taken them musically.
Interview by Zofia Ciechowska
Photos by Vinna Laudico shot in Montreal, Canada Styling by Kaitlyn Woodhouse
Whose decision was it to move Los Angeles? Riley is from California. He was having issues with staying in Canada at the time, we decided it made sense for us to spend some time together elsewhere. We had all lived in Montreal for basically the entire time that we have been adults. Moving to LA seemed like a good opportunity to leave the Montreal scene, which can have a deterministic effect on your worldview and day-to-day. It was nice to take the music out of Montreal and into a new context. You came back to Montreal a few months ago. Do you miss LA? I admire LA more than I miss LA. It’s a beautiful place to be, I love the beach and everything else about it, but I’m not yearning to go back, you know? The cool thing about being in a band is that you never really have to leave any place, you always get to come back. There’s something that feels a little dreamlike about going to California from Canada, it fascinates me to no end. In Canada, it’s easy to have your little life set up; when you travel in California you are hit with many more complex experiences. But no matter how much time I spend there, I think I will always feel like a visitor in America.
Tell me about the new album, Sugar at the Gate. I think it’s an interesting record because we made it in a bit of a time capsule of putting ourselves in a position of being in a new city and a new house. In many ways it’s a classic TOPS record, just more pushed to the edges. Our second record was quite poppy, whereas with this album we managed to incorporate influences from pop, but also a range of more psychedelic, heavier and stranger undercurrents that we have always had, but get characterised by less. Overall, it’s still quite smooth and has some classic TOPS elements to it, but mood and lyrics-wise there’s more variation and diversity in them. It’s nice to have something to share again with our fans. I’m really happy that there’s songs like Dayglow Bimbo on this record. You sing and write the lyrics. What’s worth noting in these particular areas? I’m just more confident with allowing myself to believe that I can say something and because it has meaning for me, it has value in the context of a TOPS song. In general, it’s allowed us to go into a lot more interesting and unique kind of songwriting. Up until this record, a lot of my lyric and songwriting has been more exploratory than confessional. In the past, a large part
‘I was committed to them as an expression of myself and what I thought was valid, I was not in pursuit of perfection’ of the pursuit was learning how to write a song, as well as expressing one’s emotional response to life. Whereas now, I’ve gained confidence in my ability to create a song that is successful, and I was able to use my intuitive personal perspective when writing the songs with David and Riley, and the lyrics came more spontaneously. Once I wrote them, I was committed to them as an expression of myself and what I thought was valid, I was not in pursuit of perfection. I really love the lyrics on Hours Between that I wrote with David, it goes into things that really resonated with us all, and David’s contribution there was intended to make the record represent something that we could all stand behind. After playing so many shows, it emerged to me as an artist that that is something very important, more so than attempting to create the perfect pop song.
to Virna Lindt’s song Underwater Boy, which is quite a TOPS-y song. David and I listened to a lot of ‘90s R&B instrumentals from Faith Evans, Janet Jackson and Aaliyah. With their compelling vocals laid on top, it’s hard to focus on just their pop production. Without vocals though, it’s laid bare what’s going on, and I feel like we eventually were able to reference some of that on our own record by recreating it sonically.
Did you surround yourselves with any particular sounds in your record-making capsule in Glendale? Sade is one of those artists who I always go back to. I listened
Tops 25 Nov – Nest, Ghent free for members and their +1
Elena Colombi Next to having her own radio show on NTS and being a very in-demand club DJ, Elena Colombi has been promoting parties in London and did so in Milan years ago. But shooting for the top of a scene is not where Elena puts her energy, she is a passionate and outspoken DJ that avoids clichĂŠs and embraces musical unrest. We had a conversation about influences, challenges, cities and countries and the art of not getting too comfortable with yourself or your surroundings.
Interview by Rafael Severi (DJ Sensu)
Photos by Trent McMinn shot in London
‘Routine really kills me’
What was your musical upbringing like In Italy? [laughs] I have a very interesting non-connection to the country I was born in, meaning that my family was completely unconventional. I have not had what you would describe as a canonical Italian upbringing. My memories are more of travelling around the world with my parents and this was reflected in the music we were listening to and the people we would hang out with. My sets do feature some Italian music, but it is not from musicians you would typically associate with Italy.It’s just not home for me. You do have a big ‘80s influence in your sets. I disagree. There is definitely a certain sound I feel attracted to, but it is not defined by a certain era. And your move to England was for music? Yes. After a very intense period in my life where I was promoting really good nights in Milan, I started feeling that the scene in Italy was too specific. Routine really kills me. I like that energy that comes with something fresh and I think I am just going to try and chase it again. Me coming to London was literally with a
‘I have this weird obsession with every single set being completely different from the previous one’ one-way ticket and without connections. I found what I needed and now I am reaching a similar moment where I feel I again need a challenge. Where to? I follow my instincts. At the moment I am picking cities I have never been to and spending 24 hours there before or after a gig. London has been a very important chapter in my life but it will not be home for much longer. I can imagine you also try and avoid routine when you DJ. How do you prepare your sets? I have this weird obsession with every single set being completely different from the previous one. I literally spend days looking for music. It is not something I have to do, it just comes very naturally. Sometimes there are tracks you might want to play a bit more often. There is no rule. I do listen to a lot of new music and sometimes also make edits.
So there isn’t one track you always take with you? The general answer is no. Whenever I try to make a plan, also for my radio show, it very quickly dissolves. I think what you have to do is show up somewhere and see how you feel and just follow that.
What else besides music inspires you? I would say people. Without human contact I would be absolutely dead. That reflects in everything I do.
And when you play a track that doesn’t work? I have been very lucky so far in that respect, but then again it is not necessarily a bad thing to play a track that empties the dancefloor. It re-arranges things. For a slightly more complex song you might have to listen to it a couple of times before it becomes catchy. Do you remember the first record that made you think you wanted to do something with music? It was not a record, it was a mix. I started clubbing when I was 21 and I discovered a DJ that did after-parties that I never managed to catch live. His name was DJ Parrux. Even today I would like to get in touch with him and say thanks. A friend gave me a couple of his incredible mix CDs and that is when I decided I was going to play as well. He played really fast and the mixing was also very quick.
Asphalt with Elena Colombi 18 Nov – (Democrazy), Ghent free for members
Kristof Van Heeschvelde 37
Interview by Isaline Raes Photos by Tiny Geeroms shot in Ghent
KRISTOF VAN HEESCHVELDE KRISTOF VAN HEESCHVELDE KRISTOF VAN HEESCHVELDE Ghent-based human artist As you call yourself an observer of the humankind, what are your recent observations? In short, my work explores the paradox between how people represent themselves and who they really are. Not only on an individual level, but also on a higher scale. How important do we feel as humankind and how important are we really? Currently, my interests revolve more and more around the theme of extreme branding. My name ‘Kristof Van Heeschvelde’ as a brand and the brand as a product. For my performance DIT IS MIJN NAAM (2015) and the installation ZIEHIER MIJN NAAM (2015), I wrote my name on a card and sprayed it on a wall. And now I’m developing an AR-app that lets you place a hologram of my name into your surroundings. It’s all about the façade versus the reality. Over the years the brand has become more important than the product itself. Back in the days you bought a pair of jeans, now you’re buying a Levi’s. You can spot the same dynamics in the art world as well. Some time ago I read an article about the greatness of the paintings of comic actor Jim
Carrey. Without being too judgmental, if you’re a little critical you know that what he paints is not of a standard quality. A famous artist isn’t necessarily a good artist. Correct, although it is possible. But in my opinion, people become less sharp when faced with a famous artist. Additionally, for the rather small fishes in the art world it is very hard to criticise the grand names. It’s not acceptable to visit a gallery and shout out that the room is filled with crap. When you do that, you immediately get pigeonholed as the frustrated, critical artist. A reputation that will eventually overshadow your work. Isn’t it a pity that there is almost no room anymore for criticism between artists? Of course. I became an artist because of the freedom artists are supposed to get. Sadly, the truth is far from that. Because you’re part of an economic system, you get judged on your sales number. When you sell out your show, you’re a good artist. Ridiculous,
but this commercial mindset became deeply rooted in the art world. It’s less and less about the content of the works. What about you? Are you managing your artistic career? There was a time when I really put effort into creating a steady network. To the point that I realised, ‘What the heck am I doing? Do I want to become a famous or a good artist?’ Sure, it’s important to network, but you should never neglect your art practice. You have to stay focused at making good work. Networking is so hollow. People go to an expo to literally show their heads. I don’t want to do this anymore. Hence, I only visit an exhibition because I’m interested in the artwork.
current wave of branding yourself through social media. A year ago, I also made a series of smaller paintings based on private pictures that friends had put on Facebook. It’s striking what people find important enough to put on the Iinternet. By painting my friends’ photos I created new stories because there’s a bigger distance between me and the people in the pictures, and a painting gets another value than a picture on social media. How do you want to be remembered? As a human artist.
Do you use social media to promote yourself as an artist? I use Facebook and Instagram. But I deliberately don’t have an artist page on Facebook. I can’t detach myself from being an artist. An art page is merely about promoting the name of the artist. I do want to scatter my name around the world, but only under the guise of extreme branding. What’s your opinion about social media? With my extreme branding projects I kind of criticise the
Selected by BLANCO www.vanheeschvelde.be
Photography & styling: RenĂŠe Verhoeven Hair & make-up: Jonathan Destrebecq Models: Ellen Sterckx & Polina Godunov
book So You’ve Been Publicly Shamed Jon Ronson
text by Gabriela González
It pains me to say it, as I feel every article in the entire universe right now makes sure to mention it, but social media has for ever altered the ways we relate to each other. For better, as we meet and relate to likeminded folks from all over the world; and for worse, as we paradoxically experience a loss of empathy through the constant reaffirmation of our worldviews. The latter is one of the messages behind Jon Ronson’s book, So You’ve Been Publicly Shamed. In his comically guileless style, Ronson investigates people whose lives were wrecked by a faux pas that somebody noticed and the world refused to let go. You have the pop-psychology writer ruined by a fabricated Dylan quote; the Silicon Valley nerds who lost their jobs after jokingly misusing the (technical) term ‘dongle’; and Ronson’s own brush with a spambot-doppleganger that made him question the importance of what is said and who is listening. Ronson also visits a shame-eradication bootcamp and a IT firm whose main activity is to rebuild the reputations of fallen shamees, but the case studies were, for me the most interesting. Our newly-acquired communicational powers are the perfect tools to rally people around a cause that impacts the so-called greater good. But what if those powers are misused and misfired, and pointing out offences becomes less of a duty and more of a sport? We pride ourselves on being better at getting our causes into the spotlight and fighting the injustices of the world. Ronson maintains an optimistic viewpoint on the positive aspects of social media, yet he reminds us that in unanimity there is a loss of compassion, and we are not immune to its perils. It happened to him, and it could happen to you.
SOME HIGHLIGHTS OF THE STUK AUTUMN
Sendai Jeroen Uyttendaele Wolves In The Throne Room BRNS Fùgù Mango Sextile Douglas Firs
Florentina Holzinger Rosas Mathias Ringgenberg Eko Supriyanto Michiel Vandevelde Jan Martens
Omer Fast Kelly Reichardt Playground 2017 with Julian Weber, Fabrice Samyn & many more
PHOTO © SENTA SIMOND & JENNA CALDERARI
MORE INFO STUK.BE
recent finds STORM! storm.kaap.be
Maybe it’s the magical melancholy of it all, but the Belgian coast has become a major hub for all things jazz in recent years — in no small part due to the KAAP cultural centre and their platform for jazz, literature and the visual arts in the city of Oostende. In this vein, KAAP is back with their much anticipated STORM! festival. Following two highly successful editions, STORM! is all about uniting unbridled Belgian talent with groundbreaking acts from all over the world; it’s three days of gallivanting by the seaside to the sounds correlating to this year’s theme, Jazz Not Jazz. Headliners include SCHNITZL, winners of last year’s STORM! contest, the American trumpeter Christian Scott (also known as ‘jazz’s young style god’), and Flat Earth Society with their wildest piece yet. The rendez-vous will be 10, 11 and 12 November at De Grote Post in Oostende. Let yourself be blown away by more than just the salty breeze.
Looking for something to up the creepily-weird-yet-mesmerisinglydope factor in your zine collection? We’ve got something for you, all the way from Japan: Spew is three photographers, Naohiro Utagawa, Koji Kitagawa and Daisuke Yokota, who under their collective moniker dabble in everything from publishing to installation and performance art. Blurry logos compete with zoomed-in brushstrokes, with an aesthetic that is decidedly dark, full of textures and abstract imagery that looks as if a Xerox machine decided to print its dreams, or as if a Richter painting got lost in a black-and-white Lynchian exercise. Eerie and absolutely wantable.
OPENING SOON POP-UP HUMAN SOAP STORE SCHULDFABRIK / JULIAN HETZEL
Performative installation including a human soap factory, concept store and beauty clinic. Discover how your “guilt” and “debt” can get manufactured, treated and objectified. Wash your pain away!
16.-25. NOV, GHENT BURGSTRAAT 18K
TICKETS: WWW.VOORUIT.BE & WWW.CAMPO.NU
recent finds Dreamer Store
Because in this age of perpetual statement-making, it helps to wear your heart on your sleeve — literally. Dreamer Store is here to help you with that. With their arsenal of garments that wield messages ranging from social justice cries (‘If You Are Not Angry You Are Not Paying Attention’) to pop culture winks (‘Seinfeld and Chill’), Dreamer Store caters to the post-ironic youth culture of today that understands the power of a well-executed message in an impeccably composed selfie. The variety is staggering, the aesthetic beyond enticing. Their Instagram, @differ.tv, will take you beyond the sartorial and into the right mindset.
An exciting new space for experimental photography has just landed in the heart of Brussels: meet Pinguin, a project started by local photographers Ilan Weiss and Sybren Vanoverberghe which focuses on the process and phases of the medium — from its experimental stage all the way to its intended destination. Their first exhibition, which you can check out until 26 November, will feature the works of the aforementioned artists: a confrontation between Weiss’s printing experiments and Vanoverberghe’s pictorial study of history. An inspiring exploration of the possibilities of image-making, where intention is always present and outcome is never certain.
Sint-Pietersnieuwstraat 60, 9000 Gentâ€ƒ @welcometoshelter
recent finds LYZZA
Photo by Amie Claire Galbraith
by Hannes Rooms
Lysa de Silva is a Brazilian Latina producer/DJ and already a familiar face in Amsterdam’s club scene despite being just 19 years old. It’s mainly due to her baile infused, restless resident sets at NYX and Progress Bar, as well as further afield at Berlin’s Creamcake and London’s UNITI — all spaces disrupting the mainstream, homogenous club culture. Formerly only uploading edits and loose tracks on the cloud she now readies her first full EP. Subba NL’s Jo Kalinowska asked her what we can expect from Lyzza in the future: ‘I just want to be able to sustain myself and continue producing, as an artist I want to get on the mic more and finally I want to help build the scene and throw the best New Year’s party: lasers, lights, people carrying me onto the stage, people dancing in cages…’
Consistency is not a feature of NAKED, the Polish-British duo who meticulously removed their new wave/indie debut EP from the internet to move forward. Production work for Mykki Blanco and a first album on LuckyMe followed, labelled more as industrial pop music that emotionally balanced between vulnerability and anger. For the brand new EP Total Power Exchange, NAKED found shelter at Halcyon Veil and that makes perfect sense. Stripped down to pure force and aggression, tracks are built around industrial noise, distortion and screamed vocals. NAKED distills only the rawest feelings and pours it into a 10:59 lasting power session. With aesthetics reminiscent of sadomasochism, self-flagellation or psychological terror, NAKED morphed into their final form.
Kris Defoort © Geert Vandepoele
Gilles Vandecaveye © Bruno Bollaert
Kris Steiger / The Thing Defoort’s Jazz en rock-’n-roll Diving Poets i.s.m. JazzLab Series Society VR
Dĳ f Sanders © Tim Broddin
Krachtige jazz naar Peter Verhelst Nordmann
Nieuw album tussen rock en jazz Altın Gün
Aural Archipelago / Dĳf Sanders Indonesische elektropop i.h.k.v. Europalia
de Turkse Pink Floyd i.h.k.v. Istanbul Ekspres
Kouter 29, 9000 Gent T ICK E T S Tickets Gent Sint Baafsplein 17 09 265 91 65 www.handelsbeurs.be
vorm: Pascal Van Hoorebeke
by Isaline Raes
recent finds Trust in the Unexpected Until 3 December Governor’s Mansion, Ghent Free entrance governorsmansion.be
For the third time governor Jan Briers is opening the doors of his Baroque mansion to the public with Trust in the Unexpected, a group show with work of current HISK artists and alumni. Built in the first half of the 18th century on the Vlasmarkt in Ghent, the Governor’s Mansion counts three salons in enfilade. The flawlessly aligned doors and theatrical spaces form the perfect backdrop for the representation of the artworks. For Trust in the Unexpected — title borrowed from Emily Dickinson, a mystic poet — the Baroque rooms are stuffed with ghosts, spirits, chimeras and other hybrids of nature or culture. Go wander through the artworks (of Bram Demunter, Jonathan Paepens, Sarah Smolders and others) in the majestic hallways and salons, chill in a Louis XIV chair while watching video work by Anaïs Chabeur and Vesna Faassen & Lukas Verdijk, and get some fresh air under a Kasper De Vos’ sculpture. Trust in the unexpected.
Perpetual Construction: A dialogue with the house of Jean Prouvé III
Until 9 December CAB, Brussels Free entrance cab.be/perpetual-construction
This group show marks the final chapter of a trilogy of exhibitions in which architect Jean Prouvé’s Demountable House 6x6 is brought into dialogue with work by both Belgian and international artists. Referring to the climate of reconstruction that marked Post-WWII Europe — the context wherein Prouvé originated his Demountable House 6x6 — the expo is conceived as a construction site. The participating artists are reflecting on the influence of cyclic processes of construction/deconstruction/ reconstruction on our individual and collective lives. Some are questioning how the capitalist agenda is altering our urban landscape and exploring the repurpose of byproducts of consumption. Others follow a more poetic approach by combining fragile, intimate materials with raw concrete and stones. With work of Katinka Bock, James Capper, Jordi Colomer, Oscar Tuazon, Lena Verijke and Christoph Weber amongst others.
An effective slow-burn VARIETY
#subbafam Invite your friends & get your membership for free
by Guillaume Kidula, curator of Schiev festival
Starting the work of this third edition (we’re talking administration, accountancy, subsidies dossier and other enjoyable tasks), at the very moment where you get to ask yourself if all this free time wouldn’t be better spent with your friends, families or binge watching Netflix, we received a message: ‘I had an Schiev fe oppor tunity to follow stival fo r the las which to t two ed ok place itions at Beurs I was ple sc ased by selective houwburg. e d ge , p o , cutting wer ful a nd some ic line-u time pp combine rog ramming ch s scientifoices wh d togeth er, ich with the best inte unfor tunately, e v ntions, s mutate in ometime en to cumb s ersome friends-o m nly festi usic-gee vals. Ho k is not th wever, it ec Schiev. A ase when we ta lk r tisticall y asser ti about ming de cis ve p r o g r ammusic fe ions wrapped in to sti how har val” for mat crea “simple monious ted som efeeling o subtlety f li as well a s welcom ghtness, diverse audienc ing and e-friend which d ly envir id n onment but, to th ot overshadow creativit e contra y r y, contr empowe ibuted to r ment o f the reg th come an e ular vie d to disc wer to o ve r m o re.’ Launching Schiev three years ago, we had a clear idea of where we wanted the festival to go, and which kind of relationship we wanted to develop with the audience. But it’s not always so easy to know if you’re heading in the right direction, or if what you’re trying to propose is understood. That message made us blush and gave us the confirmation that we’re heading in the right direction. We hope to see you at Schiev this year, and now you know, we love to receive love letters. ☺
Schiev Festival 12 Nov - Beursschouwburg, Brussels free for members
recent finds Filmer à tout prix (FATP): Documentary Film Festival
23/11 to 2/12 in Brussels
This 17th edition of FATP features among its many other interesting programmes the screening of one particular film that is very rarely shown in theatres. Peter Watkins’ The Journey could be seen as more of a crusade than a journey. Aware of the gratuitous and overly pejorative use of this word, let’s hasten to add that applied here, it signifies more than just a crusade against. More than against nuclear proliferation, globslised capital or the military-industrial complex, it is a film crusading for something. For universality, inclusion or a true globalism? For another kind of filming, talking to or speaking about people? Rather than against the ‘Monoform4, as Watkins calls the corporate media consensus pervading every pore of (visual) culture? For acknowledging in every particularity of a given situation the traces of a universal truth? During this 14-hour odyssey Watkins talks and listens to regular folks all across the world and ‘by the end of the film, Watkins has made clear a belief that has been one of the foundations of all his work: that fundamentally, all places are simultaneously distinct and part of one place; all times are special and part of one time; all issues are important for themselves and as parts of a single, interlocking global issue.’(quote by Scott MacDonald)
Visit Sabzianâ€™s New Website!
Sabzian is a collection of online reflections on cinema, and maps cinephile events in Belgium and its surroundings. Articles are written in Dutch, English and French.â€ƒ sabzian.be
With an all-new design of the website, Sabzian aims to become even more of a space for visitors to return to and wander about. It asserts a durable exchange between our own content and the transmission and contextualisation of existing cinephile initiatives. This vision has been rendered into a structure with new features like film pages, related content and related events, language navigation, a new home page and a search function with an overview of both directors and authors. In short, everything is intertwined!
we visit you
Name: Gerlinde Age: 36 Zodiac sign: Sagittarius Subbacultcha member since: 2013
Tell us, what do you do in life? I’m currently getting some new input, refreshing my view on things and starting a research Master’s in philosophy at VUB. What do you like best about your place? The green garden in the middle of the city. What kind of music are you listening to at the moment? Right now I’m listening to anything being played on Musiq’3, the French radio station for mainly — but not only — classical music. They have a very interesting show on experimental electronic music too.
and prejudice, and the many kinds of unnecessary cruelty they lead to. Have you experienced any regrets recently? Having spent too much energy for some years on a job I wasn’t really passionate about. Which future Subbacultcha show are you looking forward to? Kasai Allstars at Vooruit (but that will be over when this is printed).
What’s the first record you bought? I felt young and wild in the early Nineties, so the first time I set foot in a record store I left with Bleach by Nirvana. What’s your favourite pastime? My man, friends, cats and WIELS. Any guilty pleasures? Good wine, great coffee and the soundtrack to the Jesus Christ Superstar musical. If you could be famous, what would it be for? I don’t think I’d like to be famous, it seems like quite a hassle. But if I had to be, I’d prefer it to be for somehow contributing to reducing intolerance
Photo by Margaux Nieto
front cover: Vinna Laudico
thank you: Isaac Barbé, Mattias Baertsoen, Niloufar Nematollahi, Hannes Rooms, Vicky Derweduwen, Lindsey De Laet, Mert Sen, Jeroen Albertijn, Mona Vermeiren, Pieter Dauwe, Mats Wosky, Junior Bokele, Paulina De Vleesschouwer, Margaux Fabris, Kellan Smith, Lynn Cailliau, Anna Hortense Vanden Brande, Naoki Karathanassis, Nelson Henry, Lara Decrae, Kosta Soetaers, Isabelle Vanderstockt, Valerie Buckenmeyer, Melanie Musisi, Eline De Vos, Axelle Vertommen, Gert Van Dijck, Lisa Alemán Arévalo, Sofia Van Laer, Amani Wijte, Maria Antchougova, Amaury Wilkin and friends, Ian Wiglema, Emilia Vangrinsven, Frederik Vliege, Pascal Vandenberghe & Frederic Busscher
editors in chief: Herlinde Raeman & Kasper-Jan Raeman magazine editors: Julien Van de Casteele & Gabriela González copy editor: Megan Roberts design: Chloé D’hauwe website editors: Valerie Steenhaut & Thomas Vanoosthuyse
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office: Subbacultcha Belgium, Dendermondsesteenweg 80A, 9000 Ghent, Belgium
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contributing writers: Gabriela González, Julien Van de Casteele, Bart Bruneel, Nicolas Baudoin, Anaïs Violet Van Eldere, Lynn Cailliau, Rafael Severi, Andrea Mancini, Zofia Ciechowska, Isaline Raes, Valerie Steenhaut, Laura Bonne, Hannes Rooms & Sabzian contributing photographers: Tiny Geeroms, Renée Verhoeven, Vinna Laudico, Sasha Vernaeve, Trent McMinn, Amie Claire Galbraith & Margaux Nieto contributing artists: Gabriela González & Kristof Van Heeschvelde
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“EEN INTELLIGENTE SATIRE VOL SPECTACULAIRE SCÈNES EN HILARISCHE SITUATIES.”
“THIS IS HIGH WIRE CINEMA. IT SETS OUT TO MAKE YOUR JAW DROP. AND IT SUCCEEDS.”
S Q UA R E
BAN G FROM
RUBEN ÖS TLUND,
IN DE BIOSCOOP
Published on Oct 30, 2017