BECOMING LANEY

 

The music business doesn’t give a shit about you, or any of us. They will prostitute you for all you are worth, and cleverly make you think it’s what YOU wanted … and when you end up in rehab as a result of being prostituted, ‘they’ will be sunning themselves on their yachts in Antigua, which they bought by selling your body and you will find yourself very alone. (Sinead O’Connor)

 

Leni Huyghe is filmmaakster van opleiding en beroep. Voor Kc De Werf maakte ze in samenwerking met Helena Lemonnier de kleine fotoreeks BECOMING LANEY. De reeks bestaat uit zes portretten van Leni Huyghe zelf waarin ze de ambiguïteit van het sterrendom onderzoekt.

 

Actuele iconen als Britney Spears en Miley Cyrus – ze komen uit de kweekvijver van Disney Channel en werkten vanaf hun kindertijd hard om een solide marktproduct te worden. Toen al leerden ze om de nonchalance te cultiveren en uit zorgvuldig gekozen elementen een imago op te bouwen, niet alleen op, maar ook naast het podium. Britney werd tijdelijk een all-American sweetheart, een eeuwige maagd op zoek naar ware liefde. Miley whitey Hannah Montana tapte uit het street vaatje en maakte van hiphop en twerking hapklare brokken van een rebelse identiteit.

 

Van mens naar vlot consumeerbaar product, van vrouw naar lustobject – de showbusiness eist op elk moment een doortimmerde look en een gladgestreken gezicht. Hij produceert volmaakte lichamen die zich ophouden in luchthavens, luxehotelkamers, fitnesszalen en limousines ingesloten door bodyguards en paparazzi. Maar hoe lang kunnen de poppen blijven dansen? Hoe lang gedijt een privéleven aan de oppervlakte? Hoe lang kan men zichzelf vergeten om een beeld te worden, moedwillig de leegte accepteren en normaliseren? Idolen worden net zo lang aanbeden als ze voor godheden doorgaan; wie zich een mens toont, wordt aan de schandpaal genageld. Integriteit is een zwakte die de overlevingskansen ijlings doet slinken.

 

They tried to make me go to rehab, I said ‘no, no, no’
Yes I’ve been black but when I come back you’ll know, know, know
I ain’t got the time and if my daddy thinks I’m fine
He’s tried to make me go to rehab but I won’t go, go, go (Amy Winehouse)

 

Deze reeks is een ode aan de roem. Ze is een ode aan diegenen die het overleven en vooral aan diegenen die de afgrond ingaan.




EN - Leni Huyghe made a photo series entitled ‘Becoming Laney’. It contains six portraits of herself and a small video work made in collaboration with Helena Lemonnier. The work investigates the ambiguity of stardom. It questions the way in which show business dehumanizes people by turning them into consumable products. It is an ode to those who survive under these circumstances and to those who fail to survive.




image

Kc De werf invited Mont Saint Eugene to present new work by young artists for a period of eight months. Very pleased to take part in this project, we start off with a video and photo installation entitled “The less said about life’s sores”.

The installation is on view during the months of November and December.

www.dewerf.be


'T IS TOCH NOG CA VA? I Tom Van Brugghe


Opening saturday 06.07.13
from 6 pm -10pm

Exhibition 
from 07.07.13 till 31.07.13

Address
Mont Saint Eugene
Sleutelstraat 5 Rue de la Clé 
1000 Brussels

Opening hours
Wednesday– Saturday: 2pm–6pm 

Tom van Brugghe I ‘T IS TOCH NOG  ÇA VA?
’T IS TOCH NOG ÇA VA? (It’s not that bad, is it?) becomes a valid question when Tom Van Brugghe decides to play a healthy number of his animated short films simultaneously on tube TVs as part of a single installation. One rule only: each animation is to be made of no more than twenty images. By reducing the number of images in every film to a sheer minimum, Van Brugghe shifts the emphasis to the way in which they are combined. The illusion of the real is of lesser importance, then, and it is the game of shuffling around a preset number of images that gives the films their dynamism. This game of combination, repetition and variation pushes the films forward into time and, in the process, highlights the basic principle of animation – that of combining immobile images into a mobile, animated world. Narrative tension thus being stripped to its elementary form, it is also intensified. 
No surprise, then, if Van Brugghe’s shorts are akin to TV cartoons in their use of basic generators of story tension such as the chase, the action-reaction scheme and the approaching disaster, or their way of feeding on burlesque tomfoolery and plain old fun. But ’T IS TOCH NOG ÇA VA? is more than that. Van Brugghe’s animations are infused with more than a hint of the obscene and mostly portray a brute and messy world that superimposes (both hand-drawn and (photo)graphic) images of divergent styles. The result is an overall aesthetics of the incomplete, an effect which is only heightened when Van Brugghe turns animation into installation – in ways, however, that no storyteller would divulge beforehand.
Opening saturday 06.07.13from 6 pm -10pm
Exhibition from 07.07.13 till 31.07.13AddressMont Saint EugeneSleutelstraat 5 Rue de la Clé 1000 Brussels

Tom van Brugghe I ‘T IS TOCH NOG  ÇA VA?

’T IS TOCH NOG ÇA VA? (It’s not that bad, is it?) becomes a valid question when Tom Van Brugghe decides to play a healthy number of his animated short films simultaneously on tube TVs as part of a single installation. One rule only: each animation is to be made of no more than twenty images. By reducing the number of images in every film to a sheer minimum, Van Brugghe shifts the emphasis to the way in which they are combined. The illusion of the real is of lesser importance, then, and it is the game of shuffling around a preset number of images that gives the films their dynamism. This game of combination, repetition and variation pushes the films forward into time and, in the process, highlights the basic principle of animation – that of combining immobile images into a mobile, animated world. Narrative tension thus being stripped to its elementary form, it is also intensified. 

No surprise, then, if Van Brugghe’s shorts are akin to TV cartoons in their use of basic generators of story tension such as the chase, the action-reaction scheme and the approaching disaster, or their way of feeding on burlesque tomfoolery and plain old fun. But ’T IS TOCH NOG ÇA VA? is more than that. Van Brugghe’s animations are infused with more than a hint of the obscene and mostly portray a brute and messy world that superimposes (both hand-drawn and (photo)graphic) images of divergent styles. The result is an overall aesthetics of the incomplete, an effect which is only heightened when Van Brugghe turns animation into installation – in ways, however, that no storyteller would divulge beforehand.

Opening saturday 06.07.13
from 6 pm -10pm

Exhibition 
from 07.07.13 till 31.07.13

Address
Mont Saint Eugene
Sleutelstraat 5 Rue de la Clé 
1000 Brussels