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Costume design by Pablo Picasso for the performance of Parade des Ballets Russes by Serge Diaghilev at the Théâtre du Châtelet in Paris on May 18, 1917. Characters in the parade: French Manager, Horse and American Manager.

 

We most recently celebrated the second edition of Parade, The Public Event in Saint-Cirq Lapopie. 

 Parade, The Public Event does not pretend to be a performance but instead a way to forge a future founded on unbridled artistic expression and sincerity. This initiative pays  homage to the 1917 ballet PARADE, choreographed by Leonide Massine, with music by Erick Satie, a script by Jean Cocteau and set designs by Pablo Picasso. As expressed by Rothschild, "[The] theme of the ballet is artistic frustration, as the performers fail to entice the audience to enter the true spectacle within." This leaves us to wonder, then, where the bounds of the scene truly end and begin. Throughout the week Saint-Cirq Lapopie transforms into a scene as Parade, The Public Event challenges spectators and artists alike to confront the challenges of today’s world. 

The legacy of La Maison André Breton as a haven for artists has since been reappropriated by Radicale1924 in its aim to evoke the past in a contemporary cultivation of artistic exchanges. This exchange is made possible by the generous hospitality of numerous residents of Saint-Cirq Lapopie who open their doors to artists and friends alike during this time.

The artists involved generate proposals that reconfigure collective imaginaries and predetermined assumptions whilst initiating a reflection on how we work together, with, and against Surrealism. Thus, Parade, The Public Event elaborates a contemporary reading of the past while in dialogue with the complexities of our present.

The second season includes an international cohort of artists from different generations invited by Chantal Yzermans, Belgian choreographer and founder of the project Radicale 1924 : Georges Adéagbo (BN) Guillaume Bijl (BE) Ria Pacquée (BE) Carlos Aires (ES) A.L. Steiner (USA) Luc Deleu (BE) Nienke Baeckelandt (BE) Nicolas Bourthoumieux (BE/FR) Elias Cafmeyer (BE) Cedric Fargues (FR) Hans Demeulenaere (BE) Olga Mihk Fedorova (BE/RU) Stéphanie Lagarde (FR) Agence Future (BE) Samyra Moumouh (BE) Siham Mehaimzi (FR) Angel Paz (VE) Mikes Poppe (BE) Idris Sevenans (BE) Simona Mihaela Stoia (RO) Victoria Parvanova (BE) Zena Van den Block ( BE) Pieter van der Schaaf (NL) Yi Zhang (BE/ROC)

The artworks are placed in different locations throughout the village, following the itinerary: 

 
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Elias Cafmeyer’s work Camping et stationnement de véhicules aménagés interdit (2022), is a contemporary interpretation of a surrealistic “objet-trouvée”: a white van has become completely useless by the presence of a brick wall. Elias Cafmeyer made this work during his last stop after an Odyssey through Europe. This very van was his refuge for several months.

Through the elevation of his van as an artwork/sculpture parked in the idyllic town of Saint-Cirq Lapopie, Cafmeyer comments on the recent construction of numerous car parks surrounding the village. The utilization of red construction bricks reflect Cafmeyer’s reaction to the prohibition of the usage of these bricks in the region. Both the multitude of car parks and the brick regulation are for the artist a sign of the increasing uniformity of European cities and countryside. 

  • ELIAS CAFMEYER ( Belgium, 1990)

    Mainly working with sculptures and video installations, Elias Cafmeyer creates site-specific installations often in public space or inspired by the use of public space in the context of the city. He sees the city landscape as a metaphor for social construction and focusses on traces of urban development and forms of signage orchestrating mobility. His interventions deal with strategies such as inversion, juxtaposition and contrast, creating a sense of alienation. Apart from his video installations, Cafmeyer often uses raw, industrial material such as metal, untreated wood and concrete.

 
 
 
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Pieter van der Schaaf's work, Untitled (2021), seeks to destabilize the presumption around the relationship between viewers and works in an exhibition context by working with his own infrastructure, making the walls turn their backs on the viewer. installations are created from building materials normally concealed behind architectural cladding or facade, thus adhering to the technical norms of the material while using it to construct a visual space in a direct manner. As a result, the material intervention and the space that hosts it function as parallel versions of each other.

 

  • PIETER VAN DER SCHAAF ( NL, 1984)

    Working mainly with installation and sculpture. He graduated from Academie Minerva in Groningen (NL) in 2010 and studied at the California College of the Arts in San Francisco/Oakland (USA) in 2009. In 2016 and 2017 Pieter was a resident at the Jan van Eyck Academie in Maastricht (NL).

    His work has been shown at the Fondation Ricard in Paris, the 63rd Salon de Montrouge, at Occidental Temporary in Villejuif, Nest in Den Haag and the Jan van Eyck Academie in Maastricht.

    He had solo shows at Espace d’art Contemporain du Théâtre de Privas, and Glassbox and Galerie Jeune Création in Paris. Forthcoming, he will show new work for the occasion of his solo show at B32 in Maastricht (NL) end 2021.

 
 
 
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In the words of the artist Nicolas Bourthoumieux, “I wished to create a monument to oblivion as much as to self-sacrifice, to the one who 'was almost there’. An allegory of the anonymous, Michael Collins, more than anyone else, was the first man not to have walked on the moon." Un autoportrait à la chaussette trouée (2022), illustrates a cycle whose engine is failure itself. 

Bourthoumieux begins with what should have been the closure of his research during his residency in Saint-Cirq Lapopie: the burial of a foot casting. Therefore, his own foot rests under the ground for an indeterminate period, the time to be found or forgotten, like the fossil of a dinosaur egg, like in Pompeii. As such, a seed results, disguised as finality. 

  • NICOLAS BOURTHOUMIEUX (FR, 1985)

    Originally from Toulouse, Nicolas Bourthoumieux has lived and worked in Brussels since his studies at La Cambre. A multidisciplinary artist whose work includes sculptures, installations, paintings, videos and photographs.

    In his practice, Nicolas Bourthoumieux subtly materializes his astonishment of the world, nourished by essential serendipity. His poetic gestures occupy the space, refusing a negotiation with the architecture. His ensemble of works commonly reveals the strange, invisible transformation time may confer on things. Often recycling his own artworks, he sees objects as carrying a temporal charge from which ghosts may (re)appear.

 
 
 
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The center of activities of Radicale 1924 hosts Guillaume Bijl and his piece Sorry (2022), a work that combines different art historical references. The artist is available for informal conversations with guests and visitors.

  • GUILLAUME BIJL (BE, 1946)

    Guillaume Bijl is known for his large-scale installations and visual realism. Since the late 70s, Bijl created realistic decors using found objects. In doing this, he had a pioneering role in the resurgence of the ready-made.

    Bijl shows the audience various aspects of our western ‘civilisation’ and consumer society. Using extreme stereotypes, he creates a sort of ‘archeology of our time’ in a tragi-comedic, alienating way.

    His participation will be a great opportunity to reflect on his practice in light of a Surrealist strand that continues to reverberate into today’s art practices.

 
 
 
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Stéphanie Lagarde’s projection Afternoon Quote, (2022) depicts the essential figure of an inhabitant connected to the village since her childhood at the heart of the project Radicale 1924. A phrase taken from a discussion in April is displayed here. The power of her words resonate with the artist's inquiry on the place of love in our society which are undermined by inequalities (social, racial and gender) and by the structures of domination at work on every political level. 

  • STEPHANIE LAGARDE (FR, 1982)

    Based in Paris, her work focuses on the occupation of space and memory, researching strategies performed to maintain and challenge control over actual and virtual territories.

    Echoing ancient mnemonic techniques, Lagarde assembles conflictual narratives out of sound, image and text from real and virtual, old and new, historical and fictional sources.

    She exhibited in venues such as Plato Ostrava, Czech Republic; Kunstmuseum Bonn, Germany; Frei_raum Q21 MuseumsQuartier Vienna, Austria; Tallinn Art Hall, Estonia; Ludwig Forum für Internationale Kunst, Aachen, Germany; Center for Contemporary Photography, Melbourne, Australia; Palais de Tokyo, Paris, France. Her videos have been shown in festivals such as IFFR (Rotterdam), BISFF (Beijing), Berlin Atonal, Videonale (Bonn), Transmediale (Berlin), EMAF (Osnabrück), DOKLeipzig, Kasseler Dokfest, KFFK (Koln), November Festival ( London). She won the Grand Prize at BIEFF 2019 (Bucharest) and the International competition award of Short Waves Festival 2019 (Poznan, Poland).

 
 
 
 
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Radicale1924 welcomes Olga Mihk Fedorova to present her video USB (2018).

  • OLGA MIHK FEDOROVA (BE/RU, 1980)

    Olga works at the intersection of photography, painting, digital imaging and installations. Using three-dimensional software Fedorova creates forms that resemble ready-made models and inserts them into spaces and landscapes typified by their aseptic, clinical sterility and detached, impersonal ambience. The images of Fedorova, with their surreal, dystopian presentation, evoke uneasy, dreamlike states that feel both familiar and alien, comforting and disturbing.

    Quarantine Diary project is the first visual art project created by Fedorova, where she merged real and surreal to reflect 2020 pandemic time.

    2020 Joachim Coucke & Olga Fedorova: Road To Know Where, Gent Belgium 2019 Clusterfuck, Future Gallery Berlin Germany 2018 Artificial Paradise? Immersion in Space and Time, Graz Austria 2018 Olga Fedorova: She lives in you, Gallerie Charlot, Paris 2018 Future Love. Desire and Kinship in Hypernature, Basel Switzerland

    2017 Olga Fedorova: Generic Jungle, Annka Kultys , London UK

 
 
 
 
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For this second edition of 'Parade, l'Événement Public', Ria Paquée presents us with images made during her residency in Saint-Cirq during the previous edition intitulated, Moi (2022), in memory of the surrounding places and the performance realized in them.

  • RIA PACQUÉE (BE, 1954)

    Ria had her international breakthrough in the 1980s with her performance series featuring characters she created – ‘Madame’ and ‘It’. Infiltrating reality by means of these two personae, she carried out an artistic investigation of the thin dividing line between the fictional and the actual.

    In more recent work she has tended to concentrate on photographic and video productions, in which the experiences gained as a performance artist still play an important role.

 
 
 
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This year Luc Deleu displays his work, Universal Space (2022), in Saint-Cirq Lapopie. After they settled in house “Les Nénuphars”, in the prestigious Cogels Osylei in Antwerp, Belgium in May 1968, Luc Deleu and his wife Laurette Gillemot founded T.O.P. office, a studio for urbanism and architecture in 1970.

  • LUC DELEU (BE, 1944)

    After they settled in house “Les Nénuphars”, in the prestigious Cogels Osylei in Antwerp, Belgium in May 1968, Luc Deleu and his wife Laurette Gillemot founded T.O.P. office, a studio for urbanism and architecture in 1970.

    The starting point, motivation and goal of the studio was questioning architecture and urban design, their position and duty in a global society. This generated the necessity to think about why and how to run an architect studio and how to direct it towards a truly independent and autonomous development with the use of a large set of media.

    So, T.O.P. office was set up with the very conviction that it would be better to reduce the spatial impact of building and to build less. Convinced that future developments in communication media would enable a reborn nomadic life, the first ideas were to come with work that emphasizes mobility versus the immobilism of real estate and to contradict the exclusive privilege of the building as living and job accommodation.

    On many occasions - apart from being an independent research team developing an autonomous format for urban research by design – T.O.P office participated in the debate on urban planning and architecture, and therefore maybe ended up in a certain niche.

 
 
 
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Sevenans presents an excerpt of his project Tour De Zwanze (2021), an imaginary bike tour between Museum René Magritte (Belgium) Brussels and Maison André Breton, Saint-Cirq Lapopie (France).

  • IDRIS SEVENANS (BE, 1991)

    Working on sculptures, films, exhibitions, unwanted advertising and books (including 'Stoppen met Lezen' and 'De Computer', about Marcel van Maele), Idris runs a shop of remarkable products (the unrealistic initiative Troebel Neyntje) and founded his own school : AARS (Antwerp Artist Run School).

    The twentieth-century philosopher Hans Theys (Bangladesh, 1936) described the ubiquitous centipede Sevenans as "a flawless bullshit detector" and also as "something already done in the 1960s, only fresher". He himself got stuck in the 1960s, so he should know.

    Living in a world where we are incessantly bombarded with patronizing precepts, ugly images and ludicrous gossip that should lead us to consume senseless, useless, tasteless, colorless and ambiguous things that we do not need, so in that world, we greet with joy the aikido-like way in which Sevenans floors this ineradicable nonsense with a spiral movement. - Carla Van Campenhout, February 2020

 
 
 

In her installation Comfort (2022), Romanian-Belgian painter Simona Mihaela Stoia represents the inevitable but starkly different forces of man and forces of nature that conquer a space, resulting in continuous reconstruction. 

Nestled in the quaint village of Saint-Cirq Lapopie, Stoia draws upon not only its rich history but also its transformation. This year, Stoia utilizes both artificial objects and nature found throughout the village in the making of Comfort (2022). Objects such as earplugs portray the significance of the Second World War particularly in reference to the Surrealist movement. Alternatively, the scattering of vibrant m&m’s at the base of the piece reveals a certain absurdity. Stoia sees the texture and the relationships between colors as means of construction. In the artist’s own words, “I built this as a painting in my head.” 

  • SIMONA MIHAELA STOIA ( ROU, 1982)

    is a contemporary Romanian-Belgian painter, who lives and works in Belgium

    Her paintings are characterised by a threefold application of the paint: in the thinly applied, sometimes atmospheric, here and there released background, in the modeling of volumes that evoke the image of body parts, animals or plants, and in the moments where the paintings become more abstract and finally become mere paint and paint strip.

    Playing with these three approaches, she weaves and kneads paintings that are simultaneously sensual, mysterious, compact, open, complex and bold. Here too we encounter, thematically speaking, darkness and playfulness, here too we meet an artist who thinks visibly with paint and painting techniques. The most specific thing about Stoias paintings, however, is something else, namely her ability to create paintings that take place in completely different color registers. Her paintings often have a dominant color sphere (e.g. emerald, carmine, yellow or pink) that on a closer look breaks up into countless harmonious colors that are not different values of the same tone, but individually touched, autonomous tones, which she can 'see' beforehand . Hans Theys, 2020

 
 
 
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Mikes Poppe performs, The artist is not present (2022).

The artist is not present 

L’artiste n’est pas présent

Der künstler ist nicht anwesend

  • MIKES POPPE (Belgium, 1983)

    Since 2007, while focusing on his academic research on “Performance Art”, Mikes Poppe quoted a number of live performances in the form of re-enactments ('Archive-projects').

    He specialized in meticulously reconstructing canonical / historical performances (from the 1960ies & 70ies), confronting them with so-called 'Inspired-by projects': ie semi-autonomous performances inspired by the historical antecedents, creating a personal interpretation / transformation of the original material.

    Poppe re-enacted work of Marina Abramovic, Danny Devos, Vito Acconci, Chris Burden just to name a few. Nowadays he regularly presents autonomous art performances, drawings and installations.

    His visual artwork has strong performative elements and can be seen as complementary to his live art projects.

 
 
 
 
 

In a small boutique in the village, Victoria Parvanova presents Barbie in Saint Cirq Lapopie (2022), and Grimes in Saint Cirq Lapopie (2022). She shares, “The instagramable Saint Cirq Lapopie is a perfect background for beautiful selfies. Follow Barbie, Emily and Grimes and make your own selfie in this magical Disney-movie setting and tag @victoriaparvanova on Instagram to get the chance to become one of the stars in a limited edition Coloring Book as well as to get many likes and new followers.”

  • VICTORIA PARVANOVA (BE/BG1993)

    The Belgian-Bulgarian artist creates drawings, paintings,

    sculptures and other dazzling objects celebrating beauty. In her work images, styles and

    attitudes of so-called low and high culture are combined in new constellations that can

    take on the shape of oil paintings on canvas or panel, drawings with sculpted, gilded

    frames embroidered pillows or T-shirts and so on. Craftsmanship, art history and lifestyle

    are lured into surprising encounters, characterised by a very subtle, aristocratic sense of

    humour.

    She is convinced that the formal aesthetic qualities of a work of art convey truth and

    goodness on a level much more direct and unobstructed by preconceptions and

    associations, then content could ever communicate.

    As Grimes sais: “My friend was doing some art and she was like this is so wholesome and

    there is no dark. And it was this like pink and stuff and I was like: I don’t know dude, this is

    radically wholesome and like being wholesome, especially in art is sort of looked down

    upon, we are supposed to be tortured artists or whatever, but it is actually edgy to be

    wholesome at this point.

 
 
 
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Nienke Baeckelandt presents her work, Meta Stones (2022) in the last orginal woodturning shop of Saint Cirq Lapopie.

Meta stones are questioning the value of heritage in this specific environment.

A time ensnared in time. Stones trying to preserve stones. 

  • NIENKE BAECKELANDT (BE, 1989)

    The work of Nienke Baeckelandt derives from a persistent urge to experiment with different materials and media. Hereby she always seeks out the tension between intuition and control.

    Her images are often the result of “concentrations or intensities” of a certain moment. In her most recent work, she explores the boundaries of what the viewer notices or, on the contrary, what (s)he passes by. Seeing, appearing, disappearing.

 
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Cedric Fargues performs Let me turn you into a potato, (2022).

  • CEDRIC FARGUES (France, 1988)

    His work has been featured in several exhibitions at galleries and museums, including the New Galerie and the Queer Thoughts. The artist's first artwork to be offered at auction was Two works: Bébéfleurs 9; Bébéfleurs 16 at FauveParis in 2020.

    Cédric continues his relaxed infiltration into the world of contemporary art. The Figeacois artist of Lotoise and Aveyron origins based in Figeac, megaphone of the movement henceforth called "cabécoucore", caught the internets with his nonchalance, easily rocking from his sleigh bed to lava lamps with Faurissonian influences, all crossed by post-internet farts far removed from the “sadness-no-future-it's-the-end-of-the-world” posture that has afflicted Figeac for years.

 
 
 
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Edward Krasinski/Bleu Line/Displacement (2022).

Video, Blue Tape

The artists Samyra Moumouh and Hans Demeulenaere presented a video sequence containing a performance realized at the Maison André Breton and presented at the Maison Daura, thus creating a link between these two artists' houses. The work itself seeks to question curatorial space. What distinguishes a conventional space from an artistic space? What role should the artist play in this decision-making and what role should he or she not play? Moumouh and Demeulenaere draw on the work of Edward Krasinski and his contemporaries in the 1960s. Evoking the interventions of the "blue line animator", they in turn appropriate a room in an ephemeral way by marking it with adhesive tape whilst filming simultaneously only to roll up the tape again in the opposite direction. By applying the blue tape to the wall in this house, it turns the room into an artistic place, an art space, a stage.

  • SAMYRA MOUMOUH (Belgium, 1983)

    Formally trained as filmmaker and architectural designer, mainly works in the field of contemporary art. Her practice consists of designing exhibitions; developing a design concept and foresee the technical assistance for the realization of art.

    She was (2011-2018) the (inter) national assistant of Anne-Mie Van Kerckhoven [AMVK] and also works irregularly for and with other artists such as Hans Demeulenaere and Chantal Yzermans.

    Samyra creates scenography for dance and theater, designs site specific furniture for artist studio's events, as well as the interior of commercial and private spaces.

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This year outside the church of Saint-Cirq Lapopie, Georges Adéagbo presents his work, André Breton et la vie d’André Breton (2022). During his walks, he collected lost or discarded objects that reveal something about the society he visited before incorporating them into his installations. Adéagbo enriches his palette with sculptures and traditional masks from Benin to present the culture of his country wherever he is invited to exhibit. Adéagbo avoids overly obvious interpretations of his work: ambiguity and entrapment are integral to his strategy of provocation.

  • GEORGES ADÉAGBO (BN, 1942) 

    A conceptual artist who has developed his own style of using found objects since the early 1970s in Cotonou, Benin. During his walks, he collects lost or discarded objects that tell something about the society he visits and incorporates them into his installations. Adéagbo enriches his palette with sculptures and traditional masks from Benin to present the culture of his country wherever he is invited to exhibit. For each installation, he commissions paintings and wood panels from Beninese artisans, thus linking the local and the global. As a result, episodes from his personal past intersect with unusual interpretations of supposedly objective historical studies, mainstream pop culture is juxtaposed with canonized high culture, and the mundane is confronted with the profound in his work. Adéagbo avoids overly obvious interpretations of his work: ambiguity and entrapment are integral to his strategy of provocation. Adéagbo's works can be found in important collections such as: Centre Pompidou-Paris, Museum Ludwig Cologne, Philadelphia Museum of Art, The Whitworth Art Gallery, Manchester, Toyota City Museum, KIASMA Helsinki, Moderna Museum Stockholm and the Contemporary Art Collection of the Federal Republic of Germany.

 
 
 
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The performance of Yi Zhang The Weight of a Stone (2022) speaks to The Myth of Sisyphus by Albert Camus. In this absurdist text, Camus states that, “The struggle itself ... is enough to fill a man's heart. One must imagine Sisyphus happy". 

The village of Saint-Cirq Lapopie is built of stone whilst natural elements such as wind and rain put people in a similar predicament to Sisyphus. Through her ​​ephemeral performance, Zhang lifts the stones, lets them fall and then crack, before picking them up again until they are too broken and too small to break further. In doing so, she demonstrates that the process of chasing the stone down the hill serves as an opportunity for Sisyphus to take a break from the process and make decisions again; Sisyphus chooses to keep pushing the stone each time. 

  • YI ZHANG (BE/ROC, 1996) 

    Yi Zhang is born in Wuhan and studied painting in Guangzhou.

    In 2016, an Erasmus exchange brought her to Antwerp for six months. In 2019 she returned to Belgium to continue her practice in visual art.

    In 2019 she returned to Belgium for a master's degree in visual arts. That same year she won the Stockman's Art Book Prize and showed drawings in Inbox, M HKA.

    Today she lives in Amsterdam,where she was offered a six-month residency. In China, Zhang worked with different media: video, photography, drawing, sculptural installations and oil paintings on canvas. In one canvas we recognize the shape of a saucer and glued volumes that were given an extra shadow by means of paint. Her current works are about love and sharing love.

 
 
 
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The promenade culminates with a music performance by Angel Paz at the highest point of the village.

  • ANGEL PAZ (VE, 1978)

    Originally from Venezuela, he first learned to play his first guitar chords at the age of 9 with one of his older brothers. As a teenager, through meetings with the artisans of Margarita Island, he took his first steps in jewelry making. As an adult, he began a long journey to Venezuela that took him all over South America in search of learning. These travels showed him the musical diversity emanating from different cultures: it was at this time that he discovered the Zampoña, a traditional wind instrument from the Andes.

    At the age of 27 he decided to go to Europe; life goes on. He continues his journey with the guitar and the Zampoña, trying to preserve the Andean culture that he has been imbued with.

 
 
 
 
 
 

Agence Future will be collecting images of the future during Parade, The Public Event, for their transdisciplinary investigation Radicale Futures (2124), exploring how the nonexistent can become visible. 

  • MAYA VAN LEEMPUT

    Maya Van Leemput is Senior Researcher and UNESCO Chair in Images of the Future and co-creator of the Open Time|Applied Futures Research group at Erasmus Brussels University of Applied Sciences and Arts, where she also teaches strategic futures orientation to final year Idea and Innovation Management students.

    In 2001, Maya received a PhD from the University of Westminster for research on visions of the future in television, with a content analysis and production study of British television in the mid-1990s. In partnership with photographer Bram Goots, she is conducting a long-term independent project to explore images of the future, combining conversational approaches and visual ethnography. Her critical and prospective interdisciplinary work on media, culture, arts, (intercultural) communication, development, science and technology in society uses experimental and participatory approaches.

    Van Leemput is a member of the World Futures Studies Federation and the Centre of Postnormal Policy and Futures Studies, a board member of the Association of Professional Futurists and a founding member of the interdisciplinary visual arts collective OST and Plurality University. 

  • AGENCE FUTUR

    Agence Future (AF) is a long-term collaboration between photographer Bram Goots and futures researcher Maya Van Leemput. With a unique blend of conversation and image-based approaches they collect, study, co-create, try-out and share images of the futures. This practice started over 20 years ago with a 30-month field journey in 28 countries on five continents and hundreds of interviews. Agence Future’s films, print publications and installations highlight the diversity of images of the futures and the value of inclusive exchanges of various scale and scope (polylogues) about how we design, develop and transform all our futures as well as what those futures might become.

  • BRAM GOOTS

    Bram Goots trained as a multimedia artist at Middlesex University and works as a photographer in a wide variety of contexts: press photography, reportage for socio-cultural or philanthropic organizations, film set photography and still photography, ... His work is linked to that of artists, arts organizations and museums, musicians, theater and film directors. He was the resident photographer of the M_HKA (Museum of Contemporary Art Antwerp) for over 10 years.

    Bram developed his work as a cameraman/cinematographer on several documentary projects, music videos, TV series, infomercials and commercials. In 2019, he landed his first job as a B-unit cameraman on the Belgian feature film Yummy and two years later, in the midst of a pandemic, he took on the same role in Iraq for Baghdad Messi.

    Since 1998, Bram has been providing footage for the independent experimental project Agence Future and handling logistics during field research. Together with Maya Van Leemput, he develops interpretations and artistic representations as well as exhibitions of the collection of images of the future co-created with futurists, artists, experts and non-experts.

    Bram is a founding member of the international art collective OST (Oiseaux Sans Têtes) and was one of the first members of the photographic cooperative Picturetank in Paris.

 
 
 
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Carlos Aires presents ‘Will you be so kind to tell me...where I am?’ (2021), in the Nightshop.

In September 2021 Carlos Aires orchestrated a séance at the house where André Breton used to spend the summer in Saint-Cirq Lapopie, France. His aim was to conduct the first of a series of curious post-mortem interviews with this influential figure in modern art. It is the starting point of a research process that aims to reflect on, from and against the legacy that has transcended surrealism among the new generations. In this séance around the table, 8 people were present, including the artist himself and Christine Cazals; the latter played the role of Medium. For Parade (September 2022) a video will be presented as an appetizer of this investigative process, initiated by the artist a year ago as part of the Radicale1924 Residency Programme.

  • CARLOS AIRES (ES, 1974) 

    He obtained a bachelor’s in fine arts at the University of Granada in Spain. Upon graduating in 1997, he moved to the Netherlands and completed his postgraduate studies at Fontys Academy (Tilburg, Netherlands), HISK (Antwerp, Belgium) and Ohio State University (Ohio, USA).

    He has participated in numerous exhibitions in national and international institutions, such as: CAC (Malaga, Spain), MACBA (Barcelona, Spain), Boulder Museum of Contemporary Art (USA), Imperial Belvedere Palace (Vienna, Austria), ARTIUM (Vitoria, Spain), Maison Particulière Art Center (Brussels, Belgium), MUSAC (Leon, Spain), BB6 Bucharest International Biennale for Contemporary Art (Bucharest, Romania), B.P.S. 22 (Charleroi, Belgium), 5th Thessaloniki Biennale of Contemporary Art (Thessaloniki , Greece).

 
 
 
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A poetic intervention by Siham Mehaimzi with her poem “Dire” (2022).

  • SIHAM MEHAIMZI (FR, 1988)

    Siham Mehaimzi was born in 1988 in Agen to Moroccan immigrant parents descended from a Sahrawi tribe. Siham grew up in the south of France where she began writing at the age of 10. After graduating in psychoanalytic clinical psychology, it was at the university during the "temporary art projects" that she met the poet Serge Pey who discovered her work and the program at the poetry cellar in Toulouse. Beside him, she takes part in the poetry march in homage to Antonio Machado who appears in the documentary film "the letterbox of the cemetery". Formed by the “Theater 2 Act” company, Siham aspires to the orality of poetry through which vibrates her ancestral memory, her mother’s exile and feminist issues.

    Siham was published in an anthology of poets in the journal Mange Monde, edited by Rafael de Surtis, then in the Revue A, transcultural review, literature action, published by Marsa and in the journal Méninge. And in the GLAD magazine! on gender, language and sexuality.

 
 
 
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RADICAL LOW | Production Company
RADICAL LOW | Production Company

Radical Low is a not-for-profit organization dedicated to produce and disseminate the performing and visual arts by organizing contemporary interdisciplinary projects in a permanent context of research and cooperation, as well as developing educational actions for all audiences.

Radical Low was registered in the Lot region of South West France in January 2020, Registration Number: W461006540.

The head office for Radical Low is located in the municipality of Saint-Cirq-Lapopie: Le Bourg, 46330, Saint-Cirq Lapopie, France.

Sylvia Zade Routier, President
Claudio Schönenberger, Treasurer

RADICALE 1924 | Art Residency Program
RADICALE 1924 | Art Residency Program

Radicale 1924 is a newly formed Art Residency Program in Saint-Cirq Lapopie, France.

Created to celebrate the 100th Anniversary of the publication of the First Surrealist Manifesto by André Breton.

Radicale 1924 is a project administered by the not-for-profit organization Radical Low.

Chantal Yzermans, Founder and Director
Regan Elena & Sirine Najam, Communications

 
 
 

Georges Adéagbo, Guillaume Bijl, Ria Pacquée, Carlos Aires, A.L. Steiner, Luc Deleu, Nienke Baeckelandt, Nicolas Bourthoumieux, Elias Cafmeyer, Cedric Fargues, Gert De Clercq, Hans Demeulenaere, Olga Mihk Fedorova, Stéphanie Lagarde, Maya Van Leemput, Bram Goots, Agence Future, Samyra Moumouh, Siham Mehaimzi, Angel Paz, Mikes Poppe, Idris Sevenans, Simona Mihaela Stoia, Victoria Parvanova, Zena Van den Block, Pieter van der Schaaf, Yi Zhang, Regan Elena, Sirine Najam, Brigitte Arran, Marie Carmen Bader, Christine Cazals, DJ Danny Dan, Frédéric Decremps, Pepo Ruiz Dorado, Laurette Gillemot, Laurent Doucet, Raquel Fernandez, Finn Fonns, Clément Gaesler, Mark Geurden, Pat Hains, Jane & Gene Hammond, Hantrax, Gilles Hardeveld, Rob Jansen, Fred Jouglas, Ully Lindmayr, Ann Lokey, Erica Michon, Marion Mol, Charles Morgan, Rosso Pablo, Alain Prillard, Sylvia Zade Routier, Bernard Schoeffer, Martine Tulet, Jacky Van Severen, Cyril Van Severen, Véronique Briolet, Servane Morize, Pat Hains, John C.Welchman, Isolde De Buck, Philou, Thierry Theron, Kim Weyts, Fabienne Lissardy, Beatrice Peyret Vignals, Stefan Wouters, Franz de Boer et Chantal Yzermans.

Images de Parade 2022 @ Gert De Clercq

 
 
 
 
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