A talk with Jane Penny, TOPS’s vocalist, at her home back in Montreal
Lysa de Silva is a Brazilianproducer/DJ and already a familiar face in Amsterdam’s club scene despite being just 19 years old. Her fame is mainly due to her restless, baile infused 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 on to 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 power session. With aesthetics reminiscent of sadomasochism, self-flagellation or psychological terror, NAKED morphed into their final form.
Looking for something to up the creepily-weird-yet-mesmerisingly-dope 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.
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.
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 by 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, mystic poet — the baroque rooms are stuffed with ghosts, spirits, chimeras and other hybrids of nature or culture. Go wander through the artworks (by 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.
This group show marks the final chapter of a trilogy of exhibitions in which architect Jean Prouvé’s Demountable House 6×6 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 6×6 — 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 explore the repurpose of byproducts of consumption. Others follow a more poetic approach by combining fragile, intimate materials with raw concrete and stones. With work by Katinka Bock, James Capper, Jordi Colomer, Oscar Tuazon, Lena Verijke and Christoph Weber among others.
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.
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.