Chantal Akerman once told an interviewer that each of her films needs hallways, doors, and rooms. “Those doors and hallways help me frame things, and they also help me work with time.” Akerman’s first major retrospective in her native Brussels showcases the breadth of her time-based achievements across an art-deco labyrinth one could spend days within. The exhibition opens with digital restorations of four 8mm films submitted with Akerman’s 1967 application to art school. Projected alongside each other asynchronously, the silent snapshots drift between frenetic observation and acted scenes with Akerman’s mother and friends. These are the earliest examples of Akerman’s radical filmmaking that she would go on to call “documentary bordering on fiction.” A cinema of ethically crossing thresholds. “Travelling” puns with the French travelling, or tracking shot. Akerman’s camera often moved right-to-left, working against the Hollywood standard of narrative progression and challenging preconceptions of what constitutes an advance. People are in transit in Akerman’s films, and the camera moves with them. Subjects exit train stations, check into hotels, ride the subway, and queue for buses. Les Rendez-vous D’Anna (1978), Akerman’s first film with major distribution, is almost entirely composed from travel passages. Not screened in …

“Workers in Song” inverts the current artworld logic of exhibitions augmented by performance programs, and instead positions the live event as the centerpiece and the exhibition its supplement (some of the performance elements, along with a soundtrack, remain on show at WIELS until October 8.) Borrowing their title from a Leonard Cohen song, Belgian composer Billy Bultheel and Welsh artist James Richards staged a collaboration that examines the elasticity of such live events, questioning the relations of appropriated artifacts (poems, films, artworks) to newly constructed material (collaborative videos, sound, banners), of spoken word to music or imagery, and of live performance to pre-recording, thus the very nature of liveness itself. It takes place in an exhibition room sparsely adorned with banners, rudimentary props (folding chairs, desk, piano), and two large screens hanging opposite each other. Four angled bleachers sit the audience “in-the-round.” A reperformance of Ian White’s Ibiza (2010) is the first of a nine-part program that is dense, heady, jarring, tender, anxiety-inducing, and shot through with moments of beauty and pathos. Liveness was central to the late artist and curator White’s thinking: he saw the rehearsed gesture and performer’s presence as a “false promise” of the live, finding liveness …

Having moved to “the capital of Europe” just last August, I approached the 14th edition of Brussels Gallery Weekend (BGW) aiming not to reckon with changes in the city’s cultural landscape, or discern the features of a much-touted “new normal,” but to focus on the present. I started with “Generation Brussels,” an exhibition of young Brussels-based artists without gallery representation, sponsored by BGW since 2018. Spread across two venues, the thematic focal points this year were gender, identity, space, and environment. In their curatorial statement, Dagmar Dirkx and Zeynep Kubat declared individualism dead, lauded collaboration, and opposed binary divisions (nature/culture, artist/curator, etc.). This overly familiar discourse and thematic framework belied the curators’ sensitivity in arranging a true medley of mixed-media installations, videos, photographs, and textile works, many of which seem to have been produced with the strictest economy of means. Amongst these, at the Tour à Plomb sports and culture center, Günbike Erdemir’s ramshackle burlap tent At the horizon of the evening of no return (2020) arose from the ground floor like some arcane pagan shelter, eerily lit and replete with small paintings of fantastical creatures and ritualistic scenes, pillows, and wooden bookstands built for reading on the floor. Upstairs, …

The inauguration of the European Parliament building in Brussels was marred by a defect of architectural planning: visitors approaching it were blown over by currents of air inexpertly funneled around the construction. One imagines stacks of European bureaucracy sent into elegant airborne swirls by the gusts of wind. The front of the building was fitted in 2008 with a “comfort ring” that alleviated the wind nuisance, a solution designed and tested at the Von Karman Institute for Fluid Dynamics, a NATO research facility near Brussels. This was one of the many narrative threads woven by artist Haseeb Ahmed into a performance presented earlier this year at the institute. Ahmed’s exhibition at Harlan Levey Projects realigns the documents, artifacts, and intuitions of that event, with the film The Wind Egg (2016) the most explicit link between these chapters in his research. Footage of the performance is edited into the fictional survey of a regular day’s work at the institute. The audience that followed the performative procession through wind tunnels, the auscultation of their inhuman breath, is now out of sight, and the scientists attend to arcane contraptions, moving between what seem to be an aviary and heavily equipped chambers of impregnation, mythopoeic …

Manon de Boer’s minimalist cinema is at its most radical in her latest film On a Warm Day in July (2015), currently on view at Jan Mot, Brussels. Like a number of her films made over the past ten years, it features a performance—American Soprano Claron McFadden improvises on a seventeenth-century song in the empty ground floor of a Brussels townhouse. In previous works by de Boer, such as one, two, many (2012), Dissonant (2010), or Presto, Perfect Sound (2006), the performer is at the center of the film’s concept, and at the center of the camera’s attention, but in On a Warm Day in July the camera quickly abandons the singer and goes on to wander and explore her surroundings. Void of objects, the space is filled with history, each crack on the wall or scrap of detaching wallpaper a mesmerizing cinematic presence. In de Boer’s work there is often an evacuation of the visual image, giving way to the prominence of the soundtrack and/or voiceover. The filmmaker is consistently interested in unsettling the traditional hierarchy of image over sound, exploring the disjunctures between sound and image that are characteristic of cinematic modernity. Such is the case in her first …

A “dark pool” is a form of high-speed trading whose machinations take place outside the reach, and modicum of control, of regular markets. But rather than indict a hypertensive and extra-judicial financial system, David Panos’s “The Dark Pool” is concerned with a different set of transactions, binding labor and the labors of the image in our accelerated times. In contrast to the promises of personal emancipation and reconfigured communality that accompany progressively ethereal ways of being in the world, immaterial labor here is weighed down, mattered and gestured. It is embodied in figures that complicate the distinctions between abstraction and representation. Video works, accompanied by sculptures that coagulate objects and ghostly images into the appearance of three-dimensional film stills undo the standard take on abstraction as a toolbox for comprehension of—or a scenography for ethical reconciliation with—the world. Panos’s investigation into abstraction seems to be, to equal extents, a historical critique and a taxidermic operation: it introduces detours into the chronology of philosophical maneuvers via which thought disincarnates and wrests intelligibility from matter; complementarily, it stuffs concepts with the material ballasts they sought to discard in order to be concepts and attain metaphorical lift-off from mundane, unholy realities. In “The Dark …

The archive is dated; we now live in the age of footnoted fictions, as artists, writers, politicians, and technocrats each try to shape political reality through semi-plausible myths… each “based on a true story.” As such, it might be time to start weighing the techniques of Hito Steyerl, or Ben Lerner’s speculative political fictions that change the world “depending on its arrangement into one narrative or another” against the not dissimilar disinformation tactics of political theater found in say, Putin’s éminence grise, Vladislav Surkov, and his use of multiple false flag operators to confuse any cogent narrative of so-called “reality.” For this review, let’s take Ivan Argote’s “Reddish Blue” as the opening salvo for this discussion. As the title suggests, the exhibition is based on the color purple, and several of the gallery walls are painted appropriately. To learn why, visitors are presented with a slideshow that apes PowerPoint and silent movies by projecting 80 expository intertitles. It begins, “I think it’s true…” and from there, a series of narratives that may or may not be true follow. These accounts more or less intertwine as the artist uses anecdotes to tell personal and familial histories, but the crux of it all …

On the way to David Lamelas’s latest show, which inaugurates Jan Mot’s new location in Brussels, I wondered how much of an artist’s practice is trapped in the discourses surrounding its inception. After all, aren’t artworks entangled with, if not contingent upon, the conditions that govern the time of their creation? In particular, I was thinking of those proponents of Conceptual art, who simultaneously created their own discourse. Does the language of Conceptual art have a fixed temporality? If so, what is it? Is it still evolving with the changing times or is it doomed to remain forever in a fixed historical category? Perhaps my thoughts were influenced by Mot’s decision to open his new space with an austere, conceptually driven exhibition that so perfectly represents the spirit of his program. (Isn’t supporting Conceptual art an old Belgian affair, taken up brilliantly by the gallery into its many afterlives today?) Or maybe it was the uncanny experience of finding myself in a maison de maître in the distinguished Rue de la Régence, a location that has just surfaced as a hub for several galleries, instead of the messy downtown corner where Mot’s white cube previously resided. This change not only marks …

Inverting the specters of progress in his 2005 Le Siècle, Alain Badiou revisited the decade-long about-face of a Greek mercenary force that successfully fought its way home from a failed, early-fourth-century incursion in Persia. He did this as a means of determining where a sequacious political left stands today, and towards which it should, or could, move in the turmoil of apparently lost or fragmented causes. Awareness of this infamous military campaign of ancient Greece—and its internal political make-up as a mobile, democratic collective in retreat—reaches us today by way of Xenophon (c. 430–354 BC), a soldier and writer among its ranks who mediated the wayward expedition in his multi-volume work, Anabasis. With more than a wink to Badiou—and to poet Paul Celan, who marshaled the anabasis as a symbol of a lived caesura—artist Eric Baudelaire has intertwined two recent personal and revolutionary narratives in his film The Anabasis of May and Fusako Shingenobu, Masao Adachi and 27 Years Without Images (2011). Reflecting on a number of stalled revolts in Japan and the Levant region, as well as their more recent outcomes, the film concerns the history of May [Mei] Shigenobu, the daughter of militant Japanese Red Army (JRA) co-founder …

Jimmie Durham has had a significant presence in the Low Countries of late with a major survey (co-curated by Bart De Baere and Anders Kreuger) in 2012 at the Museum of Contemporary Art (M HKA) in Antwerp, as well as a solo exhibition at De Vleeshal in Middelburg earlier this year. For this reason, a third monographic presentation of his work within such a short timeframe might not seem particularly urgent. However, given the curiously distorted sense of scale that people have in this part of the world, many art lovers rarely take it upon themselves to travel the relatively short distances between Belgian cities. Durham’s exhibition also marks the inauguration of Galerie Michel Rein’s new space in Brussels, who like numerous dealers, has been attracted by the recent developments of the European capital’s art scene. In reality, the artistic potential of the city remains largely open and unresolved, leaving a number of expectations as yet to be fulfilled. The gallery space, and thus the exhibition, is relatively modest in size, but this is not too much of an issue, as it brings together three sculptural works and five drawings rather neatly into a formal unity. With an opportunity for more …